Towards a Sustainable Model of Innovative Work Behaviors’ Enhancement: The Mediating Role of Employability

Sustainability Volume 12 Issue 1 https://doi.org/10.3390/su12010159 

Autor: 

1. Stoffers, Jol; Research Centre for Employability, Zuyd University of Applied Sciences, 6131 MT Sittard, The Netherlands; Faculty of Management, Open University of the Netherlands, 6419 AT Heerlen, The Netherlands; Research Centre for Education and the Labour Market (ROA), Maastricht University, 6211 LM Maastricht, The Netherlands; jol.stoffers@zuyd.nl; https://orcid.org/0000-0003-3427-7238
   
2. Van der Heijden, Beatrice; Institute for Management Research, Radboud University, 6500 HK Nijmegen, The Netherlands; Faculty of Management, Open University of the Netherlands, 6419 AT Heerlen, The Netherlands; Department of Marketing, Innovation and Organisation, Ghent University, 9000 Ghent, Belgium; Business School, Hubei University, Wuhan 430062, China; Kingston Business School, Kingston University, Kingston upon Thames, London KT2 7LB, UK; Beatrice.vanderHeijden@ru.nl; https://orcid.org/0000-0001-8672-5368
3. Schrijver, Ilse; Research Centre for Employability, Zuyd University of Applied Sciences, 6131 MT Sittard, The Netherlands.

Keywords: leader-member exchange (LMX); organizational citizenship behaviors (OCB); innovative work behaviors; employability; perceived organizational politics; small and medium-sized enterprises (SMEs); mixed methods sequential explanatory study; multi-source data. 

Abstract: In this mixed methods study, a moderated mediation model predicting effects of leader-member exchange (LMX) and organizational citizenship behaviors (OCB) on innovative work behaviors, with employability as a mediator, has been tested. Multi-source data from 487 pairs of employees and supervisors working in 151 small and medium-sized enterprises (SMEs) supported our hypothesized model. The results of structural equation modelling provide support for our model. In particular, the benefits of close relationships and high-quality exchanges between employee and supervisor (LMX), and fostering individual development as a result of employees’ OCB have an indirect effect on innovative work behaviors through positive effects on workers’ employability. Innovative work behaviors depend on employees’ knowledge, skills, and expertise. In other words, enhancing workers’ employability nurtures innovative work behaviors. In addition, we found a moderation effect of organizational politics on the relationship between employability and innovative work behaviors. Secondly, qualitative methods focusing on experiences of the antecedents and outcomes of employability were used to complement our quantitative results. All in all, this study has important consequences for managerial strategies and practices in SMEs and call for an awareness of the dysfunctional effect of perceived organizational politics. 

Idioma: Inglés. 

Publicación: 24 de diciembre del 2019.

Volumen: Sustainability Volume 12 Issue 1. 

Enlace Permanente  

Four-dimensional model: a literature review in online organisational knowledge sharing

VINE Journal of Information and Knowledge Management Systems ,Volume 51, Issue 1. 10.1108/VJIKMS-05-2019-0077 

Autor: Tuyet-Mai Nguyen; University of Queensland, Australia; m.nguyen2@griffith.edu.au - maidhtm@tmu.edu.vn; https://orcid.org/0000-0002-4889-589X

Keywords: Four-dimensional model, ISTO model, online knowledge sharing, organisations, conceptual framework, literature review. 

Abstract: Purpose – Online knowledge sharing is a popular activity worldwide and can be leveraged by organisations to innovate, create and sustain competitive advantage. Although there have been a number of studies examining knowledge sharing to encourage employees to convey their skills and experiences to others in an organisation, few attempts have been made to investigate the key motivators of online knowledge sharing in an organisation. Based on the theory of planned behaviour and technological acceptance model, this study reviews the literature to establish a conceptual framework examining motivators of online knowledge sharing in organisations.

Idioma: Inglés. 

Publicación: 21 de febrero de 2020.  

Volumen: VINE Journal of Information and Knowledge Management Systems ,Volume 51, Issue 1. 

Enlace Permanente

Knowledge complexity and firm performance: evidence from the European SMEs

 Journal of Knowledge Management Volume 25 Issue 4. https://doi.org/10.1108/JKM-03-2020-0178

Autor: 

1. David Bruce Audretsch; Indiana University Bloomington, United States; daudrets@indiana.edu;  https://orcid.org/0000-0002-3815-7762
2. Maksim Belitski; Henley Business School, University of Reading. United Kingdom; m.belitski@reading.ac.uk; https://orcid.org/0000-0002-9895-0105

Keywords: inter-organizational collaboration, resilience, firm performance, knowledge complexity, SMEs. 

Abstract: Despite valuable prior research on knowledge complexity, the inter-connectedness of various acumens of knowledge complexity and its relationship to firm performance requires further exploration. This study theoretically debates and empirically tests the relationship between three acumens of knowledge complexity and firm performance, adding a firm resilience dimension. We use primary data collected from 102 European small and medium-sized firms (SMEs) in Belgium, Bulgaria, Denmark, Spain, and the United Kingdom (UK) observed during 2012-2014 and 2018-2020. Results provide new insights on firm management and policy development for scholars, managers, and policymakers.

Idioma: Inglés.

Publicación: 24 de mayo del 2021. 

Volumen: Journal of Knowledge Management Volume 25 Issue 4.

Enlace Permanente

Valor estratégico de la responsabilidad social corporativa (RSC). Presente y futuro de su gestión

Profesional de la información, 2021, v. 30, n. 3. e-ISSN: 1699-2407 https://doi.org/10.3145/epi.2021.may.12

Autor: 

1. Barrio-Fraile, Estrella; Universitat Autònoma de BarcelonaFacultat de Ciències de la Comunicació Carrer de la Vinya, edifici I. Campus UAB08917 Bellaterra (Barcelona), España; estrella.barrio@uab.cat; https://orcid.org/0000-0001-8047-4393
2. Enrique-Jiménez, Ana-María; Universitat Abat Oliba-CEUBellesguard, 3008022 Barcelona, España; aenriquej@uao.es; https://orcid.org/0000-0001-5902-403X

Keywords: Comunicación corporativa, comunicación organizacional, RSC, responsabilidad social corporativa, sostenibilidad, Di-rector RSC, RSC transversal; RSC estratégica, diálogo stakeholders, gestión, pymes, delphi; Covid-19; pandemia; ODS.

Abstract: Corporate social responsibility (CSR) has become the central theme of many debates on the role of organizations in society in recent years. The voluntary incorporation of strategies that influence economic profitability and in turn social and environmental issues is already a reality in companies. This article has several aims: (1) to analyse whether CSR is strategic and cross-cutting for companies and whether there exists a true dialogue between companies and stakeholders; (2) to identify the functions, relationships and quality of CSR or sustainability directors; (3) to determine the main challenges for the future; (4) to reflect on the impact that Covid-19 has had on the development of CSR in businesses. The study was based on the Delphi method and employed a sample of 20 experts: 10 academics (lecturers and researchers) and 10 professionals (communication and CSR directors, and CSR and reputation consultants). The results reveal that: (1) with the exception of SMEs, CSR management in companies is strategic and cross-cutting; (2) there is no reciprocal dialogue between companies and stakeholders; (3) the functions carried out by CSR directors can be classified as analytical, strategic, tactical and communicative; (4) the most outstanding qualities of the CSR director are communication skills, deep knowledge of the company and a willingness to work as part of a team; (5) the main challenge for senior management for the future is to be more strategic; (6) Covid-19 has changed the focus in CSR areas of action and in the prioritization of stakeholders. In short, we conclude that CSR management is well rooted in companies and represents a true transformation for businesses as social entities.

Resumen: La responsabilidad social corporativa (RSC) se ha convertido en los últimos años en el tema central de muchos debates que giran en torno al rol de las organizaciones en la sociedad. La incorporación voluntaria de estrategias que influyen enla rentabilidad económica y a su vez en cuestiones sociales y medioambientales es ya un hecho en las empresas. Este artículo tiene múltiples objetivos: 1) analizar si la RSC es estratégica y transversal para las compañías y si existe un diálogo real entre empresa y stakeholders; 2) identificar las funciones, relaciones y cualidades del director de RSC o sostenibilidad; 3) determinar los principales retos a futuro; 4) reflexionar sobre cómo la Covid-19 ha impactado en la articulación de la RSC en las corporaciones. La investigación se ha desarrollado a partir del método Delphi con una muestra de 20 expertos: 10 académicos (docentes e investigadores) y 10 profesionales (responsables de comunicación y RSC y consultores de RSC y reputación). Los resultados revelan que: 1) la gestión de la RSC en las empresas es estratégica y transversal, a excepción de las pymes; 2) no existe un diálogo basado en la reciprocidad entre empresa y stakeholders; 3) las funciones que desempeña un responsable de RSC pueden clasificarse en analíticas, estratégicas, tácticas y comu-nicativas; 4) las cualidades del responsable de RSC más destacadas son la capacidad de comunicación, el conocimiento profundo de la empresa y la disposición al trabajo en equipo; 5) el principal reto a futuro es ser más estratégicos para la alta dirección; 6) la Covid-19 ha cambiado el foco en los ámbitos de actuación en materia de RSC y en la priorización de stakeholders. En síntesis, se concluye la existencia de una gestión de la RSC arraigada en la organización que supone una verdadera transformación para las empresas como entes sociales.

Idioma: Español.    

Publicación: 05 de junio del 2021.  

Volumen: Profesional de la Información, 2021, v. 30, n. 3. e-ISSN: 1699-2407.  

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False Redemption—The Narrative Pattern of Korean Art Cinema

Frontiers in communication Sec. Culture and Communication Volume 7 - Mar. 2022 | https://doi.org/10.3389/fcomm.2022.753933

Autor: Song Xu Bai; Pan Tianshou College of Architecture, Art and Design, Ningbo University, Ningbo, China; baisongxu@nbu.edu.cn

Abstract: Korean art cinema has an undeniable han favor, which is considered scholarly as the most characteristic aesthetic category of Korea. The iconic auteurs who pushed Korean brands to the international stages, such as Park Chan-wook, Kim Ki-duk, and Lee Chang Dong, did not only gain their fame with their han films, but also prompted the dominated style, which is the han motif. This article extracted the common narrative pattern of the internationally acclaimed Korean art films by comparing and reading the films under the assumed pattern of false redemption. The parallel Christian redemption is a good supplement for the better understanding of false redemption. The false redemption is the most popular and effective pattern for expressing the han motif. 

Idioma: Inglés 

Publicación: 09 de marzo del 2022 

Volumen: Frontiers in communication. Sec. Culture and Communication Volume 7 - 2022

Enlace Permanente

Contemporary Uruguayan Cinemas

 

Studies in Spanish & Latin American Cinemas, Vol 16, Issue 1, Mar 2019, p. 3 - 24 http://dx.doi.org/10.1386/slac.16.1.3_1

Autor: 

1. Martin-Jones, David; University of Glasgow; david.martin-jones@glasgow.ac.uk; https://orcid.org/0000-0003-4115-0550 
2. Montañez, María Soledad; University of London; mariasmontanez@gmail.com. 
3. Brown, William; University of Roehampton; william.brown@roehampton.ac.uk; https://orcid.org/0000-0002-9367-6418

Keywords: Uruguayan cinema,  national cinema, world cinema, Latin American cinema, hermeneutic circle, International Film Festival Circuit. 

Abstract: This introduction to the special issue on Uruguayan Cinema outlines the unifying thematic (of exploring contemporary Uruguayan cinemas) and the manner of exploration (from outside the country looking in, and, from inside looking out – a ‘hermeneutic circle’ [Dabashi 2008. 240]). It also situates the issue with respect to the field of scholarly work on Uruguayan cinema (exploring reasons behind the relative lack of scholarly interest in Uruguayan filmmaking), and Latin American cinema more broadly, before briefly discussing the articles in turn. 

Idioma: Inglés. 

Publicación: 01 Marzo de 2019.  

Volumen: Studies in Spanish & Latin American Cinemas, Vol 16, Issue 1, Mar 2019, p. 3 - 24. 

Enlace Permanente

El cine español en el catálogo de Netflix: una aproximación desde la perspectiva de la diversidad

Comunicación y Sociedad, Netflix y la transnacionalización de la industria audiovisual (Guadalajara, Mexico) 2021 Vol 18. pp. 1-21. https://doi.org/10.32870/cys.v2021.8030

Autor: 

1. Aranzubia, Asier; Universidad Carlos III de Madrid, Madrid, España; aaranzub@hum.uc3m.es; https://orcid.org/0000-0002-6045-4202.
    
2. Gallego, J. Ignacio; Universidad Carlos III de Madrid; juanignacio.gallego@uc3m.es; https://orcid.org/0000-0002-7604-0450

Keywords: Netflix, cine español, catálogo, diversidad, svod.

Abstract: The arrival of the multinational Netflix has had a strong impact in all markets. This article analyzes the diversity of its catalog in Spain using the results of two catalog stills taken in November 2018 and July 2019. In addition, these data are compared with those of the main international svod platforms operating in Spain (HBO, Amazon Prime Video and Rakuten TV) and with those of the platforms of Spanish origin (Movistar+, Filmin and FlixOlé). The work draws conclusions that are not very encouraging regarding the diversity of Spanish cinema in the Netflix catalog.

Resumen: La llegada de la multinacional Netflix ha generado un fuerte impacto en todos los mercados. Este artículo acomete un análisis en términos de diversidad de su catálogo en España con los resultados de dos fotos fijas del catálogo realizadas en noviembre de 2018 y julio de 2019. Además, estos datos se comparan con los de las principales plataformas de svod internacionales que operan en España (HBO, Amazon Prime Video y Rakuten tv) y con los de las plataformas de origen español (Movistar+, Filmin y FlixOlé). El trabajo arroja conclusiones poco esperanzadoras a propósito de la diversidad del cine español del catálogo de Netflix.

Idioma: Español.

Publicación: 01 de enero 2021.

Volumen: Comunicación y Sociedad, Netflix y la transnacionalización de la industria audiovisual (Guadalajara, Mexico) 2021 Vol 18. pp. 1-21.

Enlace Permanente

Naomi Kawase’s “Cinema of Place”

Arts, volumen 8 issue 2, https://doi.org/10.3390/arts8020043

Autor: Erin Schoneveld; Department of East Asian Languages and Cultures and Visual Studies, Haverford College, Haverford, PA 19041, USA; eschonevel@haverford.edu 

Keywords: Naomi Kawase; cinema of place; women directors; art cinema; international film festivals; female authorship; auteur

Abstract: This article evaluates contemporary filmmaker Naomi Kawase’s (b. 1969–) status within Japan’s film industry as well as her place among women directors. Using Kawase’s three award winning features Suzaku (Moe no suzaku, 1997), Shara (Sharasōju, 2003), and Mogari (Mogari no mori, 2007) as the basis of my analysis, I examine the way in which these films illuminate the construction of Kawase’s female authorship in relation to a specific location. While Kawase has made a number of critically and commercially successful films since 2007, I limit my discussion to her early narrative works set in Nara, Japan in order to illuminate the significance of the international film festival apparatus in establishing and upholding the discourse of auteurism in relation to regional identity. Through my analysis I argue that Kawase successfully negotiates this discourse through a strategy of self-promotion that emphasizes a “cinema of place” within the broader context of international film festivals such as Cannes. Kawase’s “cinema of place” ultimately allows her to rearticulate the meaning of female authorship within an art cinema context by representing a new national cinema that challenges the structures and boundaries of Japan’s studio system.

Idioma: Inglés 

Publicación: 28 de marzo de 2019 

Volumen: Arts 2019 Vol. 8 issue 2. 

Enlace Permanente

Cine y semiótica transdiscursiva. El cine digital en la era de las multipantallas: un nuevo entorno, un nuevo espectador

Comunicación y sociedad, comunicación y semiótica (Guadalajara, Mexico), 2021, Vol.18 https://doi.org/10.32870/cys.v2021.7886

Autor: Manuel Blanco Pérez; Licenciado en Filología y Doctor en Comunicación, Universidad de Sevilla, Máster en Comunicación y Cultura Universidad de Sevilla, España; mblancoperez@us.es; https://orcid.org/0000-0003-1159-4679

Keywords: Cine digital, semiótica transdiscursiva, cine, Netflix, covid-19, multipantalla.   

Abstract: In recent years, a new cinematic environment has been taking shape, where the act of watching a film in a cinema had already been articulated as a minor commercial element within the film industry. But this trend, with the arrival of covid-19 and the ban on commercial cinemas, was accelerated, generating the new multi-screen cinema: which has dominated the international scene in 2020, the first quarter of 2021, and which has introduced changes that will no longer be reversible. This may lead us to question whether we are still talking about cinema, in the sense it has been given since its invention. 

Resumen: En los últimos años se ha venido configurando un entorno cinematográfico nuevo, donde el acto de ver una película en sala, se había ya articulado como un elemento comercial menor dentro de la industria cinematográfica. Pero esa tendencia, con la llegada de la covid-19 y la prohibición de acudir a salas comerciales, se vio acelerada generando el nuevo cine de las multipantallas, que ha introducido cambios que no serán ya reversibles. Esto nos puede llevar a plantearnos si estamos aún hablando de cine, en el sentido que se le ha dado desde su invención.

Idioma: Español 

Publicación: 05 de mayo del 2021 

Volumen: Comunicación y Sociedad, comunicación y semiótica (Guadalajara, Mexico), 2021, Vol.18

Enlace Permanente

Ficción audiovisual y promoción turística. Incidencia del cine y la televisión en la imagen de los destinos y aportaciones del análisis textual

Profesional de la información, v. 30, n. 6. https://doi.org/10.3145/epi.2021.nov.14

Autor: 

1. Nieto-Ferrando, Jorge; Universidad de Lleida, Departamento de Filología Catalana y Comunicación,  de Víctor Siurana, 125003 Lleida, España; jorge.nieto@udl.cat; https://orcid.org/0000-0003-3075-2636
2. Sánchez-Castillo, Sebastián; Universidad de Valencia, Departamento de Teoría de los Lenguajes y Ciencias de la Comunicación Av. Blasco Ibáñez, 3246010 Valencia, España; sebastian.sanchez@uv.es; https://orcid.org/0000-0003-3751-6425
3. Gómez-Morales, Beatriz; Universidad de Lleida, Departamento de Filología Catalana y Comunicación de Víctor Siurana, 125003 Lleida, España; beatriz.gomez@udl.cat; https://orcid.org/0000-0002-0557-528X

Keywords: Ficción audiovisual, promoción turística, turismo, cine, televisión, Imagen, análisis textual, marketing, estereotipos, análisis de textos audiovisuales, ubicación de destino. 

Abstract: The first studies of film and television as inducers of tourism appeared in the 1990s. In light of the role these media play in tourist decisions, studies of the capacity of audiovisual fiction to project a unique image of tourist attractions and desti-nations or to influence audience perceptions of them are particularly important. However, ever since research of this kind began, it has suffered from significant theoretical and methodological shortcomings associated mainly with the lack of an interdisciplinary approach. Most of the research has been in the field of tourism and marketing studies, with only a limited number of contributions from film and television studies. The objective of this article is to offer a critical review of studies exploring the relationship between audiovisual fiction and tourist destination image. The aim is to identify their concep-tual shortcomings and to point out possible solutions with reference to audiovisual textual theory and analysis. The article begins with the identification of the main areas studied in this research: the effect on the attributes of tourist destinations and on their overall image, stereotypes, and the capacity of audiovisual fiction to vest the locations where their stories are set with different connotations. This is followed by an analysis of studies that exhibit more of an interdisciplinary approach by combining audiovisual studies and tourism studies. The article then addresses the debate over the types of audiovisual productions that researchers argue have the greatest tourism-inducing capacity. Finally, the conclusions point out possible future lines of research based more on explanation than on description, recommending the systematic incorporation of textual analysis into research on film-induced tourism, and particularly on its impact on tourist destination image.

Resumen: La investigación sobre el cine y la televisión como inductores del turismo comenzó en la década de los años noventa. Dado su papel en las decisiones de los turistas, son particularmente importantes los análisis de la capacidad de la fic-ción audiovisual de proyectar una imagen singular de los atractivos y los destinos o influir en las percepciones que la audiencia tiene de los mismos. Sin embargo, la investigación arrastra desde su origen problemas teóricos y metodoló-gicos importantes debido fundamentalmente a una escasa interdisciplinariedad. La mayoría de los trabajos provienen de los estudios de turismo y de marketing, con una limitada presencia de las aportaciones de los estudios sobre cine y televisión. El objetivo de este artículo es la revisión crítica de los trabajos que han abordado la relación entre la ficción audiovisual y la imagen de los destinos turísticos. El propósito es detectar sus problemas conceptuales y apuntar cami-nos para resolverlos recurriendo a la teoría y el análisis de los textos audiovisuales. En primer lugar, se identifican los principales temas que han centrado la investigación: los efectos en los atributos de los destinos y en su imagen general, los estereotipos y la capacidad de la ficción audiovisual de connotar los lugares en los que ambienta sus historias. En segundo lugar, se analizan los trabajos que muestran mayor grado de interdisciplinariedad, al combinar los estudios audiovisuales y los de turismo. En tercer lugar, el artículo aborda el debate sobre el tipo de producciones audiovisuales que los investigadores consideran con mayor capacidad inductora del turismo. Finalmente se concluye apuntando las vías para el desarrollo de una investigación sustentada antes en la explicación que en la descripción. Para ello se sugiere la incorporación sistemática del análisis textual a la investigación sobre el turismo inducido por la ficción audiovisual, y en particular sobre su incidencia en la imagen de los destinos turísticos.

Idioma: Español  

Publicación: 14 de diciembre del 2021

Volumen: Profesional de la información, v. 30, n. 6. 

Enlace Permanente

Real fictions: fictionality, factuality and narrative strategies in contemporary storytelling

Narrative inquiry 2019, Vol.29 (2), p.245-267 https://doi.org/10.1075/ni.19025.bro

 Autor: 

1. Sam Browse, Department of Humanities, Faculty of Social Sciences and Humanities, Sheffield Hallam University, Owen Building, City Campus, Howard Street, Sheffield, South Yorkshire, UK; s.browse@shu.ac.uk; https://orcid.org/0000-0001-8709-5468
2. Alison Gibbons; Department of Humanities, Faculty of Social Sciences and Humanities, Sheffield Hallam University, Owen Building, City Campus, Howard Street, Sheffield, South Yorkshire, UK, a.gibbons@shu.ac.uk; https://orcid.org/0000-0001-8912-9350
3. Mari Hatavara; Tampere University, Finland; mari.hatavara@tuni.fi  

Abstract: “In the fiction of the future”, writes Raymond Federman in the 1970s, “the distinction between the real and the imaginary, between the conscious and the subconscious, between the past and the present, between truth and untruth will be abolished” (Federman, 1981, p. 8). In the late 1990s, Marie-Laure Ryan spoke of a similar “crisis” whereby fiction dominated to the extent that non-fiction seemed less real. Certainly, in today’s post-millennial and so-called “post-truth” age, the boundary between reality and fiction seems increasingly hard to distinguish: politicians spin stories; everyday reality in (social) media is invested in live narratives; historical events are narrativized in literary texts; fantasy as a genre is more popular than ever; and new genres – such as autofiction and fanfiction – blur the boundaries between autobiography and artistic creation on the one hand and referentiality and readerly reception on the other. This post-truth sensibility reaches beyond the intentions of creators and beyond the fabric of texts, impacting the way people live their everyday lives together with and inspired by the stories that surround them. For all these reasons, stories as tools for making sense of human action in situated social realities are today more important than ever. Stories are, for example, one of the primary vehicles through which politics is articulated and debated (Andrews, 2014). In a study on a large, public deliberative forum, Polletta and Lee (2006) suggest that those who identify with minority opinions, prefer using personal stories as part of their argumentation, and so tend to get a more favorable response from those who have a different opinion. Moreover, the spread of new media affects the affordances and constraints available in interaction and interpersonal sense-making. These new media narrative forms and the hybrid ontologies of post-truth modes of storytelling in the twenty-first century make fictionality a more pressing critical concern. Stylistic and narratological tools and models must keep pace with the complexities of these narratives in order to remain relevant and to adequately elucidate their formal properties, the interpretive processes they involve, and the experiential effects they generate. 

Idioma: Inglés 

Publicación: 2019

Volumen: Narrative inquiry 2019, Vol.29 (2), p.245-267

Enlace Permanente

Reality beckons: metamodernist depthiness beyond panfictionality

European journal of English studies, 2019, Vol.23 (2), p.172-189 https://doi.org/10.1080/13825577.2019.1640426

Autor: 

1. Gibbons, Alison; Department of Humanities, Sheffield Hallam University, Sheffield, UK; a.gibbons@shu.ac.uk;  https://orcid.org/0000-0001-8912-9350
2. Vermeulen, Timotheus; Department of Media and Communication, University of Oslo, Oslo, Norway; timotheus.vermeulen@media.uio.no 
3. Van den Akkerc, Robin; Department of Humanities, Erasmus University College Rotterdam, Rotterdam, Netherland; vandenakker@esphil.eur.nl
    

Keywords:  A Tale for the Time Being, autofiction, metamodernism, panfictionality, reality, Ruth Ozeki, The Keepers, true crime

Abstract: It is often argued that postmodernism has been succeeded by a new dominant cultural logic. We conceive of this new logic as metamodernism. Whilst some twenty-first century texts still engage with and utilise postmodernist practices, they put these practices to new use. In this article, we investigate the metamodern usage of the typically postmodernist devices of metatextuality and ontological slippage in two genres: autofiction and true crime documentary. Specifically, we analyse Ruth Ozeki’s A Tale for the Time Being and the Netflix mini-series The Keepers, demonstrating that forms of fictionalisation, metafictionality and ontological blurring between fiction and reality have been repurposed. We argue that, rather than expand the scope of fiction, overriding reality, the metamodernist repurposing of postmodernist textual strategies generates a kind of ‘reality-effect’.

Idioma: Inglés 

Publicación: 04 de octubre del 2019 

Volumen: European journal of English studies, 2019, Vol. 23 (2), p.172-189

Enlace permanente

The Possibility of Empty Fictions: Wildman

The Journal of Aesthetics and Art Criticism, Volume 77, Issue 1, February 2019, Pages 35–42, https://doi.org/10.1111/jaac.12620

Autor: Wildman, Nathan;  Department of Philosophy  Tilburg University  Tilburg  Noord‐Brabant  Netherlands; n.w.wildman@uvt.nl;  https://orcid.org/0000-0003-3394-8028

Keyowrds: Empty fictions, fictions, method for producing fictions. 

Abstract: An empty fiction is a fiction with no content—that is, a fiction in which no propositions are (fictionally) true. The central question of this article is, are such fictions possible?Here, I argue that they are. More specifically, after first examining and rejecting five potential arguments for the possibility of empty fictions, I goon to develop a more successful argument. Along theway, Iintroduce a new method for producing fictions via complementation functions. 

Idioma: Inglés 

Publicación:  12 February 2019 

Volumen:  The Journal of Aesthetics and Art Criticism,Volume 77, Issue 1, Winter, February 2019. 

Enlace Permanente

African cyborgs: females and feminists in African science fiction film.

Interventions: The International Journal of Postcolonial Studies, Vol 22, issue 5, http://dx.doi.org/10.1080/1369801X.2019.1659155 

Autor: Lizelle Bisschoff, University of Glasgow; lizelle.bisschoff@glasgow.ac.uk; https://orcid.org/0000-0002-5820-0377 

Keywords: Cyborg, African science, fiction film, Donna Haraway, African feminism, Wanuri Kahiu, Frances Bodomo . 

Abstract: African feminist writers argue that black female bodies should be understood as interactions between materiality and the symbolic constructions of the body embedded within a given culture. They caution that an overemphasis on corporeality and embodiment denies subjectivity to black women. Responding to such concerns, contemporary African cultural and creative practitioners offer alternatives to continuing objectification and bodily stereotyping. In this article, I am particularly interested in the alternative visions of black female bodies presented in African speculative and science fiction film, visions which, I argue, engage colonial histories and local traditions in order to imagine a future inclusive of empowered female protagonists. I explore how the fictional configurations and cyborg imaginations of African sci-fi deconstruct and subvert the fixity, corporeality, fragility and captivity of the black female body. Drawing on African feminism and feminist science fiction in particular, I attempt to construct a theoretical framework through which to approach the representation of female bodies in sci-fi film from Africa. In the work of filmmakers such as Cameroonian Jean-Pierre Bekolo (Les Saignantes, 2005 and Naked Reality, 2016), Ghanaian filmmaker Frances Bodomo (Afronauts, 2014), Kenyan director Wanuri Kahiu (Pumzi, 2009) and South African filmmakers Michael Matthew (Sweetheart, 2010) and Amy van Houten (Elf, 2015), we find femalecentred fantastical narratives that recast African women as futuristic cyborgs. Reminiscent of Donna Haraway’s cyborg feminism of the late 20th century, these filmmakers adapt the genres of fantasy and sci-fi to speculate about alternative African pasts and futures. 

Idioma: English 

Publicación: 19 de septiembre 2019 

Volumen: Interventions: The International Journal of Postcolonial Studies, Vol. 22 Issue 5, 2020

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Exploding stories and the limits of fiction

Philosophical Studies; Vol 178, issue 3 (2021) https://doi.org/10.1007/s11098-020-01451-w

Autor: Michel-Antoine Xhignesse; Department of Philosophy, Capilano University, Fir 404, 2055 Purcell Way, North Vancouver; michelxhignesse@capilanou.ca. 

Keywords: Auctorial say-so, contradiction, interpretation, story-telling, says-is gap, truth in fiction, universal fictions. 

Abstract: It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which every thing is true. Building such a storyis supposedly straight forward: author scan either assert that every thing is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we as sign to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise fours tumbling blocks for universal fictionalists: (1) the gap between say in gand making true, (2) our actual interpretive reactions to story level contradictions,(3) the criteria we accept for what counts as a story in our literary practices, and (4) the undesirability of the universal fictionalist’s closure principles.

Language: English 

Publication: 20 abril 2020 

Volumen: Philosophical Studies; Vol 178, issue 3 (2021)

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Art films foster theory of mind

Humanities and Social Sciences Communications Vol. 8, N° 119 (2021) https://doi.org/10.1057/s41599-021-00793-y

Author: Castano, Emanuele; University of Trento, Trento, Italy & National Research Council, Rome, Italy; emanuele.castano@unitn.it;  https://orcid.org/0000-0003-1709-590X

Keywords: literary theory, film theory, theory of mind, fiction, social cognition. 

Abstract: Research shows that reading literary but not popular fiction enhances the Theory of Mind (ToM). This article builds on the symmetry between literary theory and film theory and investigates whether exposure to art films, but not Hollywood films, enhances ToM. Participants (N = 232) were randomly assigned to view either art or Hollywood films and then answered questions about the film and its characters before completing two separate measures of ToM (the Read the Mind in the Eyes Test and the Moral Judgement Task). Results showed that art film viewers scored higher on both ToM measures and that the effect was sequentially mediated by perception of complexity and predictability of the characters. The findings are discussed in the context of the emerging literature on the impact of fiction on social cognition.

Language: English 

Publication: 25 May 2021 

Volumen: Humanities and Social Science Communications 8, Article number: 119 (2021)

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Truth in Fiction, Impossible Worlds, and Belief Revision

Australasian Journal of Philosophy; Vol 97, N°1 (2019) https://doi.org/10.1080/00048402.2018.1435698 

Author: 

1. Badura, Christopher; RUB Research School & Department of Philosophy II, Ruhr-University Bochum; christopher.badura@ruhr-uni-bochum.de; https://orcid.org/0000-0003-2481-8192
2. Berto, Francesco; Institute for Logic, Language and Computation, University of Amsterdam; https://orcid.org/0000-0003-3246-657X

Keywords: truth in fiction, impossible worlds, inconsistent fiction, Sylvan's box, belief revision. 

Abstract: We present a theory of truth in fiction that improves on Lewis's [1978] ‘Analysis 2’ in two ways. First, we expand Lewis's possible worlds apparatus by adding non-normal or impossible worlds. Second, we model truth in fiction as (make-believed) belief revision via ideas from dynamic epistemic logic. We explain the major objections raised against Lewis's original view and show that our theory overcomes them.

Language: English. 

Publication: 27 Feb, 2018 

Volumen: Australasian Journal of Philosophy, Vol 97, N°1

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Some like it bad: testing a model on perceiving and experiencing fictional characters

Media Psychology; Vol 7, issue 2 (2005) https://doi.org/10.1207/S1532785XMEP0702_1

Author: 

1. Konijn, Ellie A.; Department of Communication Science, Faculty of Social Sciences, De Boelelaan, Vrije Universiteit Amsterdam, Amsterdam, The Netherlands; elly.konijn@vu.nl;  https://orcid.org/0000-0002-6134-8700 
2. Hoorn, J.F; Department of Computer Science, Faculty of Sciences, De Boelelaan, Vrije Universiteit Amsterdam, Amsterdam, The Netherlands; j.f.hoorn@vu.nl; https://orcid.org/0000-0002-3427-5681

Keywords: Readers of fiction, spectators of motion pictures, affective relationships, fictional characters, media exposure.  

Abstract: We developed an encompassing theory that explains how readers of fiction and spectators of motion pictures establish affective relationships with fictional characters (FCs). The perceiving and experiencing fictional characters (PEFiC) theory is anchored in art perception, psychological aesthetics, and social and emotion psychology and addresses both the complexity and intrinsic affectivity involved in media exposure. In a between-subject design (N = 312), engagement and appreciation were measured as a function of the ethics (good vs. bad), aesthetics (beautiful vs. ugly), and epistemics (realistic vs. unrealistic) of eight protagonists in feature movies. The PEFiC model best fit the data with a unipolarity of factors and outperformed traditional theories (identification, empathy): The trade-off between involvement and distance explained the appreciation of FCs better than either distance or involvement alone. The mediators similarity, relevance, and valence exerted significant (interaction) effects, thus complicating the results. Furthermore, the effects of mediated bad persons differed strongly from ethically good ones.

Language: English 

Publication: 17 Nov. 2019 

Volumen: Media Psychology; Vol 7, issue 2 (2005) 

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A feeling for fiction : becoming what we behold

Poetics, journal of empirical research on culture media and the arts; Vol 30, issue 4, agosto 2002, pages 221-241 https://doi.org/10.1016/S0304-422X(02)00011-6

Author: 

1. David S. Miall; Departments of English and Psychology, University of Alberta, Edmonton, Alberta, Canada; david.miall@ualberta.ca 
2. Don Kuiken; Departments of English and Psychology, University of Alberta, Edmonton, Alberta, Canada; dkuiken@ualberta.ca; https://orcid.org/0000-0002-4330-2223 

Keywords: Narrative feelings, fiction, literature, aesthetics reaction, reading interact.  

Abstract: Feelings during literary reading can be characterized at four levels. First, feelings such as enjoyment, pleasure, or the satisfaction of reading are reactions to an already interpreted text [Spiel 9 (1990) 277].While providing an incentive to sustain reading, these feelings play no significant role in the distinctively literary aspects of text interpretation. Second, feelings such as empathy or sympathy with an author, narrator, or narrative figure are involved in the interpretive processes by which are presentation of the fictional world is developed and engaged [Poetics 23 (1994) 125]. Although serving an important mimetic role within text comprehension, these feelings ,too ,do not derive from the distinctively literary aspects of reading. Third, feelings of fascination, interest, or intrigue are an initial moment in readers’ response to the formal components of literary texts (narrative, stylistic, or generic). Although serving to capture and hold readers’ attention [Poetics 22 (1994) 389], these aesthetic reactions only anticipate a fourth level of feeling that is the main focus of the present discussion: the modifying powers of feeling. We propose that aesthetic and narrative feelings interact to produce metaphors of personal identification that modify self-understanding. Weal so argue that the concept of catharsis (the conflict of tragic feelings identified by Aristotle) identifies one particular form of a more general pattern in which aesthetic and narrative feelings evoked during reading interact to modify the reader. We illustrate these interactions with examples  from two studies of readers’ responses to a Sean O’Faola in short story. 

Language: English 

Publication: agosto, 2022 

Volumen: Poetics, journal of empirical research on culture media and the arts; Vol 30, issue 4, agosto 2002, pages 221-241. 

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Measuring aesthetic emotions: A review of the literature and a new assessment tool

https://doi.org/10.1371/journal.pone.0178899

Autor: 

1. Schindler, Ines; Department of Education and Psychology, Freie Universität Berlin, Berlin, Germany- Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany; ines.schindler@ae.mpg.de; https://orcid.org/0000-0002-5268-2643
2. Hosoya, Georg; Department of Education and Psychology, Freie Universität Berlin, Berlin, Germany; georg.hosoya@fu-berlin.de;  https://orcid.org/0000-0002-8130-2259 
3. Menninghaus, Winfried; Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany; w.m@aesthetics.mpg.de; https://orcid.org/0000-0003-3585-8544
4. Beermann, Ursula; Department of Psychology, University of Innsbruck, Innsbruck, Austria; u.beermann@psychologie.uzh.ch;  https://orcid.org/0000-0001-8270-1254
5. Wagner, Valentin; Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany; valentin.wagner@hsu-hh.de;  https://orcid.org/0000-0001-9510-351X 
6. Eid, Michael; Department of Education and Psychology, Freie Universität Berlin, Berlin, Germany eid@zedat.fu-berlin.de; https://orcid.org/0000-0001-8920-1412 
7. Scherer, Klaus R.; Department of Psychology, University of Geneva, Geneva, Switzerland; Klaus.Scherer@unige.ch;  https://orcid.org/0000-0001-9526-0144  

Keywords: Emociones estéticas, percepción estética, aesthemos. 

Abstract: Aesthetic perception and judgement are not merely cognitive processes, but also involve feelings. Therefore, the empirical study of these experiences requires conceptualization and measurement of aesthetic emotions. Despite the long standing interest in such emotions, we still lack an assessment tool to capture the broad range of emotions that occur in response to the perceived aesthetic appeal of stimuli. Elicitors of aesthetic emotions are not limited to the arts in the strict sense, but extend to design, built environments, and nature. In this article, we describe the development of a questionnaire that is applicable across many of these domains: the Aesthetic Emotions Scale (AESTHEMOS). Drawing on theoretical accounts of aesthetic emotions and an extensive review of extant measures of aesthetic emotions within specific domains such as music, literature, film, painting, advertisements, design, and architecture, we propose a frame work for studying aesthetic emotions. The AESTHEMOS, which is based on this framework, contains 21 subscales with two items each, that are designed to assess the emotional signature of responses to stimuli’s perceived aesthetic appeal in a highly differentiated manner. These scales cover prototypical aesthetic emotions (e.g., the feeling of beauty, being moved, fascination, and awe), epistemic emotions(e.g., interest and insight), and emotions indicative of amusement (humor and joy). In addition, the AESTHEMOS subscales capture both the activating (energy and vitality) and the calming (relaxation) effects of aesthetic experiences, as well as negative emotions that may contribute to aesthetic displeasure (e.g., the feeling of ugliness, boredom, and confusion).

Idioma: inglés 

Publicación: 5 de junio del 2017 

Volumen: Plos One, Measuring aesthetic emotions: A review of the literature and a new assessment tool; 5 de junio del 2017. 

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Mostrar por Montaje. Narraciones Benjaminianas desde el archivo y la fotografía de prensa

Discursos fotográficos, Vol 15 N° 27, p 13-37. https://doi.org/10.5433/1984-7939.2019v15n27p13

Autor: García-Ramos, Francisco José; licenciado en Publicidad e Historia del Arte por la Universidad Complutense de Madrid; fjgarciaramos@ucm.es;  https://orcid.org/0000-0002-1805-650X 

Keywords: Método de montaje, metodología visual, fotografía de prensa, narraciones historiográficas. 

Abstract: From Walter Benjamin's montage method and the Didi Huberman's image dys-position, this article intends to promote a theorical and methodological reflection when working with photo-press archives and newspaper libraries. A cartography articulated through photographic constellations that offers an approach to other ways of making historiographical narratives from the margins of the great stories of history.  

Resumen: Partiendo del método de montaje de Walter Benjamin y la dys-posición de imágenes de Didi-Huberman, este artículo pretende promover una reflexión teórica y metodológica a la hora de trabajar con archivos de fotografía de prensa y hemerotecas. Una cartografía articulada mediante constelaciones fotográficas que ofrece una aproximación a otros modos de hacer narraciones historiográficas desde los márgenes de los grándes relatos de la historia. 

Idioma: Español 

Publicación: 27 de Abril del 2020  

Volumen: Discursos fotográficos Vol. 15 N° 27, p. 13-37

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“SOBRE LA GUERRA”: (O) QUÉ ES HACER COLLAGE-MONTAJE EN NUESTRO HOY CONTEMPORÁNEO

Art Research Journal, Dossiê Warburg: contribuições ao Simpósio Internacional Warburg 2019, Otras épocas y otras geografías, Buenos Aires; Vol 9, N°1 (2022) https://doi.org/10.36025/arj.v9i1

Autor: Javier Cuberos; Universidad de Buenos Aires, Facultad de Ciencias Sociales, Graduate Student; https://www.behance.net/javiercuberosxubero  

Keywords: Aby Warburg, collage-montaje, archivo, arte contemporáneo.

Resumen: Muchos artistas contemporáneos citamos, estudiamos,  referenciamos  a  Aby  Warburg  y  su innovadora línea de trabajo. En su Atlas, el archivo y montaje se evidenciaba como herramienta para el conocimiento. Aquella técnica ha traspasado los límites modernos, insertándose en nuestra contemporaneidad. ¿Cómo puede el collage-montaje seguir siendo productor de conocimiento? ¿Qué  significa crear a través del montaje en tiempos del reinado de Internet? ¿Cómo retomar el trabajo de  un teórico europeo de principios del siglo XX desde la periferia del mundo occidental en pleno siglo XXI?  Presenté la primera versión de este trabajo en el Simposio Internacional Warburg, organizado por la Biblioteca Nacional Mariano Moreno (BNMM) y el Museo  Nacional de Bellas Artes (MNBA) de la República Argentina, en abril de 2019. Este artículo busca compartir algunos emergentes de mi  investigación y proyecto “Sobre la Guerra”, en relación con el trabajo de algunos artistas contemporáneos y el método de Warburg.

Idioma: Español 

Publicación: junio del 2022

Volumen: Art Research Journal, Dossiê Warburg: contribuições ao Simpósio Internacional Warburg, Otras épocas y otras geografías, Buenos Aires; Vol 9, N°1 (2022)

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Cine e historia. Archivo, montaje y supervivencias en El siglo del viento de Fernando Birri

Plurentes. Artes y Letras; N°13 (2022) https://doi.org/10.24215/18536212e044

Autor: María Cecilia Pavón; IdIHCS (Instituto de investigaciones en cienciassociales). Facultad de Humanidades y Ciencias dela Educación, Universidad Nacional de La Plata, Argentina; ceciliapavon@yahoo.com.ar; https://orcid.org/0009-0009-7404-8684 

Keywords: Aby Warburg, Fernando Birri, archivo, cine, historia.

Abstract: Over the last decades, debates about archives have spread beyond the original field of the historical discipline in order to provide new questions to the way of knowing of anthropology, literary criticism, sociology, cultural studies, and visual studies. Aby Warburg´s work and his Atlas Mnemosyne are found within this line of ideas and work with archives (both textual and visual). Considering Warburg´s method of analysis, this article will analyze the work with archives made by Fernando Birri in the movie El siglo del viento (1999).

Resumen: En las últimas décadas los debates en torno al archivo han excedido el campo original de la disciplina histórica para aportar nuevos interrogantes al modo de conocer de la antropología, la crítica literaria, la sociología, los estudios culturales y los estudios visuales. Siguiendo esta línea de ideas y de trabajo con los archivos (textuales y visuales) se inscribe la labor de Aby Warburg y de su Atlas Mnemosyne. A partir del análisis del método de Warburg analizaremos el trabajo con los archivos que realiza Fernando Birri en la película  El Siglo del viento (1999)

Idioma: español 

Publicación: 28 de octubre del 2022 

Volumen: Plurentes. Artes y Letras; N°13 (2022)

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El montaje cinematográfico como herramienta para la revisión histórica: el caso de "Black Hawk Down"

 

Historia y Comunicación Social; Tomo 24, N°1. http://dx.doi.org/10.5209/HICS.64494

Autor: Fernández-Ramírez, Laura; Universidad Internacional de La Rioja (UNIR); laura.fernandezramirez@unir.net; https://orcid.org/0000-0003-4196-9136

Keywords: Montaje, historia, cine de guerra, ejército norteamericano.

Abstract: This paper describes the editing strategies used in the film Black Hawk Down in order to correct North American viewer’s impression on the Battle of Mogadishu. Its editing style forces the audience to share the rangers experience and principles, and stresses on the ethics and professionalism of US soldiers so as to transform a military debacle into an ethical triumph. This study presents the underlying role of film editing when defining (or redefining) the audience’s impression of a historical event. The methodological approach is based on Eisenstein theories and key concepts. 

Resumen: El artículo muestra qué recursos de montaje se emplean en la película Black Hawk Down para corregir la impresión del público estadounidense sobre la derrota militar en la Batalla de Mogadiscio. Su montaje convierte al espectador en un ranger haciéndole compartir su experiencia bélica y principios, así como enfatiza en la profesionalidad y ética del soldado estadounidense. Convierte una debacle militar en un triunfo ético. Como trasfondo se pone de manifiesto la importancia del montaje cinematográfico para definir (o redefinir) la visión del espectador sobre un hecho histórico. Metodológicamente se emplea un tipo de análisis deducido de las teorías de Eisenstein.

Publicación: 2019

Volumen: Historia y Comunicación Social; Tomo 24, N°1

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Montaje, tramas paralelas e ironía dramática en el relato cinematográfico

 

Revista de Investigación UNMSM Tesis. Vol 13, N°17 (2020) Jul/Dic https://doi.org/10.15381/tesis.v13i17.19617 

Autor: Sarmiento-Herencia, Diego Alonso; diego.sarmiento@unmsm.edu.pe 

Keywords: Literatura, cine, montaje, tramas paralelas, estructura, ironía.

Abstract: 

 Cinema is young narrative phenomenon. Given that its development has been —and continues to be— vertiginous, it is, sometimes, quite difficult to explain. The different elements that play a part in the development of stories —images, sounds, montage, etc.— are so many and so different that to explain or define them is too grand a chore for a single document. This paper aims at identifying and  describing,  from  the  relations  between  cinema  and  literature,  and  from  an structural point of view, the montage technics, the construction of parallel storylines and dramatic irony, all of which are important components of mo-dern cinema.

Resumen: 

El cine es un fenómeno narrativo aún joven. Y dado que su desarrollo ha sido —y sigue siendo— vertiginoso, es, a veces, muy difícil de explicar. Los distintos elementos que participan en el desarrollo de historias —imágenes, sonidos, montaje, etc.— son tantos y tan variados que pretender explicarlos o definirlos  es  una  tarea  muy  grande  para  un  solo  documento.  Este  artículo  apunta  a  identificar y describir, desde las relaciones entre cine y literatura —y desde un ángulo estructural— las técnicas de montaje, construcción de tramas paralelas y la ironía dramática; todas ellas importantes componentes del cine moderno.

Idioma: español. 

Publicado: 04 de diciembre del 2020 

Volumen: Tesis. Vol 13, N°17 (2020) Jul/Dic

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