The link below is to an article that takes a look at reading aloud.
For more visit:
https://bookriot.com/2020/02/12/participate-in-read-alouds/
The link below is to an article that takes a look at reading aloud.
For more visit:
https://bookriot.com/2020/02/12/participate-in-read-alouds/
The link below is to an article that takes a look at one person’s reading life and their reflections upon it.
For more visit:
https://bookriot.com/2020/02/10/the-journey-of-a-reader-900-books-later/
The link below is to an article that takes a look at the 2020 Stella Prize shortlist.
For more visit:
https://www.booksandpublishing.com.au/articles/2020/03/06/147092/stella-prize-2020-shortlist-announced/
The links below are to article reporting on the latest news and updates concerning Kindle apps and readers (the most recent are at the top).
For more visit:
– https://goodereader.com/blog/kindle/amazon-5-12-4-update-is-causing-trouble-on-some-kindle-e-readers
– https://blog.the-ebook-reader.com/2020/03/06/latest-kindle-update-issue-causing-homescreen-and-library-to-disappear/
– https://the-digital-reader.com/2020/02/25/kindle-ios-v6-28-adds-reading-ruler-feature-new-font-menu/
– https://blog.the-ebook-reader.com/2020/02/25/kindle-ios-update-6-28-adds-new-aa-menu-and-reading-ruler/
– https://the-digital-reader.com/2020/02/19/kindle-firmware-update-5-12-4-drops-hints-about-new-contrast-screensaver-features/
– https://blog.the-ebook-reader.com/2020/02/19/amazon-releases-new-software-update-5-12-4-for-kindles-big-changes-coming/
The link below is to an article that considers book collecting.
For more visit:
https://bookriot.com/2020/02/10/toward-a-philosophy-on-book-collecting/
The link below is to an article that takes a look at the 2020 Stella Prize longlist.
For more visit:
https://www.booksandpublishing.com.au/articles/2020/02/07/145446/stella-prize-2020-longlist-announced/
The link below is to an article that takes a look at Alice Mayhew, who died recently.
For more visit:
https://lithub.com/remembering-alice-mayhew-legendary-editor/
The links below are to articles reporting on that latest news (though a little late) on the Audible captions resolution (most recent are at the top).
For more visit:
– https://the-digital-reader.com/2020/02/09/amazon-is-extending-the-audible-caption-settlement-to-all-publishers-and-authors-will-you-disable-this-feature/
– https://the-digital-reader.com/2020/02/07/publishers-threw-the-public-under-the-bus-in-their-win-over-audible-captions/
– https://publishingperspectives.com/2020/02/copyright-coup-as-association-american-publishers-succeeds-in-audible-captions-case/
– https://goodereader.com/blog/audiobooks/audible-captions-now-has-a-resolution

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Peter Ellerton, The University of Queensland
The use of the word “I” in academic writing, that is writing in the first person, has a troublesome history. Some say it makes writing too subjective, others that it’s essential for accuracy.
This is reflected in how students, particularly in secondary schools, are trained to write. Teachers I work with are often surprised that I advocate, at times, invoking the first person in essays or other assessment in their subject areas.
In academic writing the role of the author is to explain their argument dispassionately and objectively. The author’s personal opinion in such endeavours is neither here nor there.
As noted in Strunk and White’s highly influential Elements of Style – (first published in 1959) the writer is encouraged to place themselves in the background.
Write in a way that draws the reader’s attention to the sense and substance of the writing, rather than to the mood and temper of the author.
This all seems very reasonable and scholarly. The move towards including the first person perspective, however, is becoming more acceptable in academia.
There are times when invoking the first person is more meaningful and even rigorous than not. I will give three categories in which first person academic writing is more effective than using the third person.
Above, I could have said “there are three categories” rather than “I will give three categories”. The former makes a claim of discovering some objective fact. The latter, a more intellectually honest and accountable approach, is me offering my interpretation.
I could also say “three categories are apparent”, but that is ignoring the fact it is apparent to me. It would be an attempt to grant too much objectivity to a position than it deserves.
In a similar vein, statements such as “it can be argued” or “it was decided”, using the passive voice, avoid responsibility. It is much better to say “I will argue that” or “we decided that” and then go on to prosecute the argument or justify the decision.
Taking responsibility for our stances and reasoning is important culturally as well as academically. In a participatory democracy, we are expected to be accountable for our ideas and choices. It is also a stand against the kinds of anonymous assertions that easily proliferate via fake and unnamed social media accounts.
Read more:
Post-truth politics and why the antidote isn’t simply ‘fact-checking’ and truth
It’s worth noting that Nature – arguably one of the world’s best science journals – prefers authors to selectively avoid the passive voice. Its writing guidelines note:
Nature journals prefer authors to write in the active voice (“we performed the experiment…”) as experience has shown that readers find concepts and results to be conveyed more clearly if written directly.
Some disciplines, such as anthropology, recognise that who is doing the research and why they are doing it ought to be overtly present in their presentation of it.

Removing the author’s presence can allow important cultural or other perspectives held by the author to remain unexamined. This can lead to the so-called crisis of representation, in which the interpretation of texts and other cultural artefacts is removed from any interpretive stance of the author.
This gives a false impression of objectivity. As the philosopher Thomas Nagel notes, there is no “view from nowhere”.
Philosophy commonly invokes the first person position, too. Rene Descartes famously inferred “I think therefore I am” (cogito ergo sum). But his use of the first person in Meditations on First Philosophy was not simply an account of his own introspection. It was also an invitation to the reader to think for themselves.
The third case is especially interesting in education.
I tell students of science, critical thinking and philosophy that a phrase guaranteed to raise my hackles is “I strongly believe …”. In terms of being rationally persuasive, this is not relevant unless they then go on tell me why they believe it. I want to know what and how they are thinking.
To make their thinking most clearly an object of my study, I need them to make themselves the subjects of their writing.
I prefer students to write something like “I am not convinced by Dawson’s argument because…” rather than “Dawson’s argument is opposed by DeVries, who says …”. I want to understand their thinking not just use the argument of DeVries.
Read more:
Thinking about thinking helps kids learn. How can we teach critical thinking?
Of course I would hope they do engage with DeVries, but then I’d want them to say which argument they find more convincing and what their own reasons were for being convinced.
Just stating Devries’ objection is good analysis, but we also need students to evaluate and justify, and it is here that the first person position is most useful.
It is not always accurate to say a piece is written in the first or third person. There are reasons to invoke the first person position at times and reasons not to. An essay in which it is used once should not mean we think of the whole essay as from the first person perspective.
We need to be more nuanced about how we approach this issue and appreciate when authors should “place themselves in the background” and when their voice matters.![]()
Peter Ellerton, Lecturer in Critical Thinking; Curriculum Director, UQ Critical Thinking Project, The University of Queensland
This article is republished from The Conversation under a Creative Commons license. Read the original article.
Louise Grimmer, University of Tasmania; Gary Mortimer, Queensland University of Technology, and Martin Grimmer, University of Tasmania
By the 20th anniversary of Harry Potter in 2017, over 400 million Harry Potter books had been sold worldwide and translated into 68 languages. In spite of J. K. Rowling’s rejection by a dozen publishers before her success with Bloomsbury, Harry Potter and the Philosophers Stone became one of the best selling books of all time.
The film franchise of the books grossed US$8.5 billion (almost A$13 billion), book sales totalled US$7.7 billion (A$11.7 billion), US$7.3 billion (A$11 billion) has been made from toys and merchandise, and US$2 billion (A$3 billion) from DVD sales. The Harry Potter “empire” has an estimated total worth of US$25 billion (A$38 billion).
With bars, theme parks, fan conventions, mugs, costumes and knitting patterns going gangbusters, it seemed the little wizard could do no wrong. Words like “muggle”, “quidditch” and “Hogwarts” have become part of our vocabulary. But more than a decade since the last Harry Potter book was published, it appears the lucrative spell is wearing off.

Since the end of the beloved series (the last book in 2007 and film in 2011), there have been two spin-off stories: the film Fantastic Beasts and Where to Find Them, and the play Harry Potter and The Cursed Child, both released in 2016. The film’s sequel Fantastic Beasts: The Crimes of Grindelwald was released in 2018.
The first Fantastic Beasts film performed reasonably well at the box office, grossing US$814 million worldwide (A$1.2 billion), which is within the earnings range of the first eight Harry Potter films.
However, the Fantastic Beasts sequel resulted in less box office revenue than the first, at US$654 million (A$1 billion) globally, the lowest grossing of all the “Harry-verse” films.
Subsequent questions have been raised about how the third planned film will perform, let alone the rest of the five-film series that had previously been mooted.
The Harry Potter and the Cursed Child play is broadly considered a West End and Broadway success and has toured internationally. Despite the huge amount of money invested and the creative approach taken in promoting the production, ticket sales have seen a considerable drop in the past year (50% since their peak).

In and of itself the play was always going to be a challenge: it is a two-part production which means theatre goers have to buy two tickets and attend twice. The producers say it is intended to be seen “in order on the same day (matinee and evening) or on two consecutive evenings”.
This makes cost a problematic factor. It’s also a big time commitment. The play has a rather daunting running time of around two hours and 40 minutes each time, making a total duration of just over five hours. That’s likely to be too much for many young fans.

And about those “young fans”. When the Harry Potter and the Chamber of Secrets movie debuted in 2002, 60% of the audience was under the age of 15. This cohort are now in their 30s and this age group is considered as “non-theatre goers”. In the UK the average theatre audience member is 52. The average age of the Broadway theatregoer is 42 years old. Australian audiences at musicals and operas were last estimated to be predominantly between 55 and 74 years of age in 2014.
Another huge part of the appeal with the books and the films is the incredible fantasy world presented. Though audience members were encouraged to #keepthesecrets, transferring the magic of film CGI to the stage is an obvious challenge.
Another issue could be the recasting of Harry, Hermione and Ron. Not only are the famous three played by completely new people, but they’re no longer the young mischievous kids who captured our hearts.
The play, also published as a book, is set 20 years on from the last film, and Harry and the gang are all grown up. Daniel Radcliffe, Emma Watson and Rupert Grint have become so cemented as their characters, it is a stretch for audiences to accept anyone else in these roles.
As well as challenges with the play, there are reports that ticket sales for theme parks and book sales are also slowing. Perhaps this is to be expected, given the nature of marketing “momentum”.
Marketers build momentum through exposure of their brand, product or service and through generating excitement. But eventually, when a product has been in the market for a certain period of time, momentum inevitably slows. Demand subsequently drops and may fall away completely.
Product campaigns – and Harry Potter is indeed a product – need certain elements to be successful. It all starts with marketing the right product, promoted with the right message to the right audience at the right time. Marketers add momentum into this mix and voila – you have marketing gold. The Harry Potter franchise ticked these boxes in a way that few brands have ever done, providing wonder and delight to audiences worldwide and riches to its creator.
Over 20 years later, the highly successful book and movie franchise, and all its various spin-offs, may finally be losing momentum.
Perhaps another fictional character will take his place. There are no doubt authors sending their pitches to a dozen publishers right now and hoping this will be the case. Or maybe Harry Potter was a once-in-a-lifetime wizard.![]()
Louise Grimmer, Senior Lecturer in Marketing, Tasmanian School of Business and Economics, University of Tasmania; Gary Mortimer, Professor of Marketing and Consumer Behaviour, Queensland University of Technology, and Martin Grimmer, Professor of Marketing, Tasmanian School of Business and Economics, University of Tasmania
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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