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Babelia (1991-2011)

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Babelia (1991-2011) UNIVERSIDAD DE SEVILLA DEPARTAMENTO DE PERIODISMO II ! ANÁLISIS ESTRUCTURAL DE LA INTENCIONALIDAD DEL MENSAJE EN LOS SUPLEMENTOS CULTURALES: BABELIA (1991-2011) TESIS DOCTORAL Lda. Nuria Muñoz Fernández Directores: Catedrático Ramón Reig Dra. Antonia I. Nogales Bocio Sevilla, 2017 Análisis estructural de la intencionalidad del mensaje en los suplementos culturales: Babelia (1991-2011) Doctoranda: Lda. Nuria Muñoz Fernández Directores: Catedrático Ramón Reig. Dra. Antonia Isabel Nogales Bocio Programa de Doctorado: El Periodismo en el Contexto de la Sociedad Departamento de Periodismo II, Facultad de Comunicación Sevilla, abril de 2017 ANÁLISIS ESTRUCTURAL DE LA INTENCIONALIDAD DEL MENSAJE EN LOS SUPLEMENTOS CULTURALES: BABELIA (1991-2011) Agradecimientos El camino hasta estas páginas no ha sido fácil, muchas han sido las horas de trabajo y muchas las personas que me han acompañado en la andadura. En primer lugar, mi agradecimiento es para Ramón Reig, uno de mis directores y el pilar fundamental de esta investigación. Desde que llegué por casualidad a las páginas de sus libros, cuando aún ni presagiaba que la vida lo pondría en mi camino, mi admiración hacia su trabajo ha sido profunda y fruto de ello es la investigación que se presenta aquí, gracias por formar parte de ella. A Antonia Isabel Nogales, a Toñi, mi directora, por sumarse al camino con tanta ilusión y por estar ahí siempre, gracias. A Ladecom, por ser una ilusión en este largo camino, por ser una fuente de inspiración y un espacio de trabajo y amistad. Y a todos los ladecomitas que desde la clandestinidad hacen posible el espíritu Ladecom. Mi agradecimiento más especial es para todas las personas que de cerca han hecho posible llegar al final, a los que están y que siempre estarán y sobre todo a los que ya no están, por ser la fuerza que hace posible el caminar. Sus palabras, su gestos, sus miradas, sus risas… y sus recuerdos han hecho posible llegar hasta aquí. “Tenía entonces toda la tierra una sola lengua y unas mismas palabras. Y aconteció que cuando salieron de oriente, hallaron una llanura en la tierra de Sinar, y se establecieron allí. Y se dijeron unos a otros: Vamos, hagamos ladrillo y cozámoslo con fuego. Y les sirvió el ladrillo en lugar de piedra, y el asfalto en lugar de mezcla. Y dijeron: Vamos, edifiquémonos una ciudad y una torre, cuya cúspide llege al cielo; y hagámonos un nombre, por si fuéramos esparcidos sobre la faz de toda la tierra. Y descendió Jehová para ver la ciudad y la torre que edificaban los hijos de los hombres. Y dijo Jehová: He aquí el pueblo es uno, y todos éstos tienen un solo lenguaje; han comenzado la obra, y nada les hará desistir ahora de lo que han pensado hacer. Ahora, pues, descendamos, y confundamos allí su lengua, para que ninguno entienda el habla de su compañero. Así los esparció Jehová desde allí sobre la faz de toda la tierra, y dejaron de edificar la ciudad. Por esto fue llamado el nombre de ella Babel, porque allí confundió Jehová el lenguaje de toda la tierra, y desde allí los esparció sobre la faz de toda la tierra”. Génesis 11:1-9 Cuando se descubrió que la información era un negocio, la verdad dejó de ser importante. Ryszard Kapuściński Análisis estructural de la intencionalidad del mensaje en los suplementos culturales: Babelia (1991-2011) INDICE Agradecimientos………………………………………………………………..5 PARTE I. ANTECEDENTES DEL ANÁLISIS Capítulo 1:La investigación 1. Introducción …………………………………………………………..22 2. Justificación del tema …………………………………………………25 3. Objetivos, el porqué de la investigación………………………………27 4. Hipótesis, el punto de partida………………………………………….28 5. Metodología: cómo investigar y sobre qué investigar ..………………30 5.1Las bases epistemológicas de la investigación…………………….32 5.1.1 Breve acercamiento a la triangulación metodológica….32 5.1.2 Del Análisis de Contenido al ACD ……………………..33 5.1.3 El Análisis Crítico del Discurso ……………………..…38 5.2 Definición del objeto de estudio ………………………………….42 5.2.1 Diseño de la muestra …………………………………..43 5.2.2 Dificultades encontradas ……………………………….46 5.3 Metodología formal de la tesis…………………………………….47 Capítulo 2: Marco teórico y contextual de la investigación 6. Fundamentación teórica……………………………………………….50 6.1 Síntesis de las teorías comunicativas ……………………………..50 6.1.1 Perspectiva crítica………………………………………52 10 Análisis estructural de la intencionalidad del mensaje en los suplementos culturales: Babelia (1991-2011) 6.2 El enfoque estructural ……………………………………………54 6.3 Aproximación a la Economía Política de la Comunicación ……..59 6.3.1 Análisis Crítico del Discurso ………………………….62 6.4 Mercantilización cultural ………………………………………..64 6.4.1 La crítica literaria …………………………………….67 7. Acercamiento al estado de la cuestión ………………………………71 7.1 Antecedentes (TESEO) ………………………………………….71 7.2La crítica en Babelia ……………………………………………..73 7.3 Las presiones culturales en Babelia …………..………………….80 Capítulo 3: El objeto de estudio 8. Los suplementos culturales …………………………………………88 8.1 Babelia …………………………………………………………..91 8.1.1 Antecedentes ………………………………………….92 8.1.2 Veinte años de cultura ……………………………….94 9. Contexto del objeto de estudio …………………………….……….97 9.1 El País, el periódico global ……………………………………..97 9.2 El grupo PRISA ……………………………………………..…101 9.2.1 La creación de PRISA ………………………………102 9.2.2 Crecimiento y diversificación de PRISA ……….…….103 9.2.3 Expansión internacional ………………………………105 9.2.4 Accionariado de PRISA ……………….……………..107 9.2.4.1Accionistas actuales ………………..……….111 9.2.5 La crisis del grupo PRISA ……………………………113 11 Análisis estructural de la intencionalidad del mensaje en los suplementos culturales: Babelia (1991-2011) 9.2.5.1Estrategias de venta y desinversiones ….….113 9.3 El Grupo Santillana …………………………………………….114 9.3.1 De Santillana a Penguin Random House……………..116 Capítulo 4: El sector editorial español como marco contextual del objeto de estudio: mercado, competencia y evolución histórica 10. Otros suplementos culturales ………………………………………122 10.1 Abc Cultural ………………………………………………….122 10.2 El Cultural ……………………………………………………124 10.3 Culturas………………………………………………………..125 10.4 Revistas culturales ……………………………………………126 11. Contexto editorial del objeto de estudio …………………………….129 11.1 El inicio de los sellos editoriales actuales .……………………..129 11.1.1 Finales del siglo XIX y principios del siglo XX …….129 11.1.2 La posguerra y el franquismo ………………………..131 11.1.1.1 Los sellos que nacieron en el exilio ………136 11.1.3 De sellos independientes a grandes grupos ………….137 11.1.3.1 Grupo Planeta ……………………………137 11.1.3.2 Grupo Anaya ……………………………..139 11.1.3.3 Grupo Océano ……………………………140 11.1.3.4 Grupo Zeta ……………………………….140 11.1.3.5 Edhasa ……………………………………141 11.1.4 Anagrama y Tusquets ……………………………….142 12. El sector editorial español ………………………………………….145 12 Análisis estructural de la intencionalidad del mensaje en los suplementos culturales: Babelia (1991-2011) PARTE II. NÚCLEO DE LA INVESTIGACIÓN Capítulo 5: Las páginas de Babelia 1. Introducción a la segunda parte …………………………………….152 2. Análisis estético-formal ……………………………………………..153 2.1 20 años de cultura en las páginas de Babelia ………………….153 2.1.1 Las portadas …………..……………………………..154 2.1.2 La composición por secciones dentro de la publicación….. ……………………………………………………………….158 2.1.2.1 Secciones habituales….……………………..158 2.1.2.2 Secciones ocasionales….……………………160 Capítulo 6: Libros, autores y sellos editoriales 3. Libros reseñados en Babelia………………………………………….164 3.1 Análisis cuantitativo..…………………………………………….164 3.2 Análisis cualitativo.………………………………………………166 3.2.1 Críticas.………………………………………………..166 3.2.2 Reseñas………………………………………………..186 3.2.3 Entrevistas, reportajes, opinión……………………….189 3.2.3.1 Entrevistas………………………………….189 3.2.3.2 Reportajes…………………………………..193 3.2.3.3 Artículos de opinión………………………..195 3.2.4 Apuestas del grupo……………………………………196 3.2.4.1 “Equipaje de bolsillo”………………………196 3.2.4.2 “Escaparate” ………………………………..200 3.2.4.3 “El libro de la semana” ……………………..201 13 Análisis estructural de la intencionalidad del mensaje en los suplementos culturales: Babelia (1991-2011) 3.2.4.4 “Los más vendidos” ……………………….202 4. Autores del grupo PRISA …………………………………………..204 4.1 Arturo Pérez Reverte……………………………………………206 4.2 Javier Marías……………………………………………………210 4.3 Mario Vargas Llosa……………………………………………..214 4.4 Manuel Vicent….……………………………………………….216 4.5 Otros autores …………………………………………………218 4.5.1 Carlos Fuentes ….……………………………………218 4.5.2 Manuel Rivas…..…………………………………….219 4.5.3 Antonio Muñoz Molina…..…………………………..220 4.5.4 Juan José Millás…..………………………………….221 4.5.5 Juan Goytisolo…..……………………………………222 4.6 Autores del grupo en otros sellos….……………………………225 5. Referencia en Babelia a otros grupos editoriales……………………227 5.1 Planeta …………………………………………………………227 5.2 Random House-Mondadori …………………………………..229 5.3 Anaya ………………………………………………………….230 5.4 Sellos independientes …………………………………….…..232 5.4.1 Anagrama….………………………………………….232 5.4.2 Tusquets…..…………………………………………..234 5.5 El reflejo de la estructura editorial…. ………………………….235 6. La crítica a través de Ignacio Echevarría……………………………240 Capítulo 7: Ideario e imagen del grupo PRISA 7. Cuestiones ideológicas..……………………………………………..248 14 Análisis estructural de la intencionalidad del mensaje en los suplementos culturales: Babelia (1991-2011) 7.1 PRISA y el PSOE.………………………………………………248 7.2 Otras ideas de PRISA en Babelia.………………………………252 7.2.1 Política….…………………………………………….252 7.2.2 Cultura………………………………………………..257 8. La imagen del grupo PRISA………………………………………..261 8.1 La construcción de una identidad propia ……………………..261 8.1.1 El grupo PRISA en Babelia…………………………..263 8.1.1.1 Cuestiones
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