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

Sustainability Volume 12 Issue 1 10.3390/su12010159 

Autor: Jol Stoffers; Beatrice van der Heijden; Ilse Schrijver.

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. 

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

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

Autor: Tuyet-Mai Nguyen 

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. 

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Knowledge complexity and firm performance: evidence from the European SMEs

 Journal of Knowledge Management Volume 25 Issue 4.

Autor: David Bruce Audretsch; Maksim Belitski. 

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.

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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 

Autor: Estrella Barrio-Fraile; Ana-María Enrique-Jiménez

Keywords: Comunicación corporativa; Comunicación organizacional; RSC; Responsabilidad social corporativa; Sostenibilidad; Di-rector RSC; RSC transversal; RSC estratégica; Diálogo stakeholders; Gestión; Pymes; Delphi; Covid-19; Pandemias; 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

Front. Commun. Sec. Culture and Communication Volume 7 - 2022 | https://doi.org/10.3389/fcomm.2022.753933

Autor: Song Xu Bai

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: Front. Commun. Sec. Culture and Communication Volume 7 - 2022

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Contemporary Uruguayan Cinemas

 

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

Autor: David Martin-Jones; María Soledad Montañez; William Brown.  

Keywords: Uruguayan cinema,  National Cinema, World Cinema, Latin American Cinema, Hermeneutic circle, International Film Festival Circuit,  Auto-erasure.  

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. 

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

Comunicación y Sociedad, (Guadalajara, Mexico) 2021 Vol 18. pp. 1-21.

Autor: Asier Aranzubia; J. Ignacio Gallego.

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, (Guadalajara, Mexico) 2021 Vol 18. pp. 1-21.

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Naomi Kawase’s “Cinema of Place”

Autor: Erin Schoneveld 

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 

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

Comunicación y sociedad (Guadalajara, Mexico), 2021, Vol.18

Autor: Manuel Blanco Pérez. 

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 (Guadalajara, Mexico), 2021, Vol.18

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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.

Autor: Jorge Nieto-Ferrando; Sebastián Sánchez-Castillo; Beatriz Gómez-Morales

Keywords: Ficción audiovisual; Promoción turística; Turismo; Turismo inducido por imágenes; Turismo inducido por el cine; Imagen percibida del destino turístico; Cine; Televisión; Imagen de los destinos; Imágenes; Análisis textual; Marketing; Efectos de la ficción; Imagen percibida; Imagen proyectada del destino turístico; 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. 

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

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

 Autor: Sam Browse, Alison Gibbons, and Mari Hatavara 

Abstract: Introduction1  “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 : NI, 2019, Vol.29 (2), p.245-267

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Reality beckons: metamodernist depthiness beyond panfictionality

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

Autor: Sam Browse, Alison Gibbons, Mari Hatavara. 

Keywords: Narrativa posmodernista, ficcionalidad, Siglo XXI, fantasía, autoficción, fanfiction. 

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: 04 de octubre del 2019 

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

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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: Nathan Wildman

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 

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

Interventions: The International Journal of Postcolonial Studies, 22 (5), pp. 606623. (doi: 10.1080/1369801X.2019.1659155) 

Autor: Bisschoff, L.

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: 2020 

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Exploding stories and the limits of fiction

Philosophical Studies; Vol 180, issue 10/11 (2023)

Autor: Michel-AntoineXhignesse

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 

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Art films foster theory of mind

Humanities and Social Sciences Communications Vol. 8, N° 119 (2021)

Author: Emanuele Castano

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 

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Australasian Journal of Philosophy; Vol 97, N°1 (2019) 

Author: Christopher Badura; Francesco Berto. 

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 

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

Media Psychology; Vol 7, issue 2 (2005) 

Author: Konijn, E.A.; Hoorn, J.F.

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 

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A feeling for fiction : becoming what we behold

Poetics; Vol 30, issue 4, Agosto 2002, pages 221-241

Author: David S. Miall; Don Kuiken. 

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 

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

Título en español: Medición de las emociones estéticas: una revisión de la literatura y una nueva herramienta de evaluación

Autor: Ines Schindler, George Hosoya, Winfried Menninghaus, Ursula Beermann, Valentin Wagne, Michael Eid, Klaus R. Scherer. 

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 

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

Prof. Dr. Francisco José García-Ramos, licenciado en Publicidad e Historia del Arte por la Universidad Complutense de Madrid 

Autor: Francisco José García-Ramos

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 

Aceptado: 27 de Abril del 2020  

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

Art Research Journal; Vol 9, N°1 (2022)

Autor: Javier Cuberos 

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: 28 de Julio del 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)

Autor: María Cecilia Pavón 

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 

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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.

Autor: Laura Fernández Ramírez

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

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Montaje, tramas paralelas e ironía dramática en el relato cinematográfico

 

Revista de Investigación. Vol 13, N°17 (2020) Jul/Dic 

Autor: Diego Alonso Sarmiento Herencia. 

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 

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Imagen, historia y montaje: algunos puntos de intersección entre la obra de Aby Warburg y el cine

Culturas: Debates y perspectivas de un mundo en cambio. N°15; Pág 78-84

Autor: Fabricio Emilce 

Keywords:  Aby Warburg, cine, montaje, imagen, movimiento.

Abstract:

 The works of Aby Warburg present elements for the approaches to cultural history that are still disruptive today. My intention is to explore possible contributions of Warburg’s thought to the analysis of the audiovisual image. To do this I will study from his theoretical-meth-odological matrix with the guidance of two authors who draw on it: on the one hand, Philippe-Alain Michaud, with his original study of movement in Warburg and in the cinema and on the other hand, Georges Didi-Huberman, whose reflections on anachronisms and a thought montage are of my interest.

Resumen:

 La obra de Aby Warburg presenta elementos aún hoy disruptivos para los abordajes de la historia cultural. Mi intención es explorar posibles contribuciones del pensamiento warburguiano al análisis de la imagen audiovisual. Para esto abrevaré en su matriz teórico-metodológica con la guía de dos autores que se nutren de ella: por un lado, Philippe-Alain Michaud, con su original estudio del movimiento en Warburg y en el cine; por otro lado, Georges Didi-Huberman, de quién me interesan sobre todo sus reflexiones en torno a los anacronismos y a un pensamiento por el montaje.

Idioma: Inglés

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Publicado: 10 de marzo del 2022 

Cine y reverberación: Zama, montaje e historia.

Revista Historia Social y de las Mentalidades; Vol 27 Num 1 (2023) Relaciones entre historia y memoria en el audiovisual latinoamericano.  

Autores: Sergio Villalobos Ruminott

Keywords: Montaje, reverberación, interrupción, desmonumentalización. 

Abstract: 

 Through a critical reading of Lucrecia Martel’s fourth film, Zama (2017), based on  Antonio  di  Benedetto’s  homonymous  novel  (1956),  we  elaborate  a  reflection  on  the relationship between cinema and history, highlighting the strategies used by the Argentine director in the making of her work. We maintain that, beyond a merely instrumental and illustrative use of cinema, Martel allows us to think of cinematographic montage as a way of denarrativizing and demonumentalizing the conventional narrative of history, thereby opening a relationship with the past, freed from the historicist logic that seems to characterize both the documentary genre and political cinema in general. In this sense, the question of history and its reverberations appears in Zama as elements that complicate the conventional relationship between cinema and politics.

Resumen: 

 Mediante  una  lectura  crítica  de  la  cuarta  película  de  Lucrecia  Martel, Zama (2017), basada en la novela homónima de Antonio di Benedetto (1956), elaboramos una reflexión sobre la relación entre cine e historia, destacando las estrategias empleadas por la directora argentina en el montaje de su obra. Sostenemos que, más allá de un uso meramente  instrumental  e  ilustrativo  del  cine,  Martel  permite  pensar  el  montaje  cinematográfico  como  un  modo  de  desnarrativización  y  de  desmonumentalización  del  relato convencional  de  la  historia,  abriendo  con  ello  una  relación  con  el  pasado,  liberado  de las  lógicas  historicistas  convencionales  que  parecen  caracterizar  tanto  al  género  documental como al cine político en general. En este sentido, la cuestión de la historia y sus reverberaciones aparecen en Zama como elementos que permiten complicar la relación convencional de cine y política. 

Idioma: Español

Publicado: 15 de mayo del 2023 

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Seeking Formula for Misinformation Treatment in Public Health Crises: The Effects of Corrective Information Type and Source.

Autores: Toni G. L. A. Van der Meera;  Yan Jin.

Keywords: Social media, continued influence, communication, emotions, audiences.

Abstract: 

An increasing lack of information truthfulness has become a fundamental challenge to communications. Insights into how to debunk this type of misinformation can especially be crucial for public health crises. To identify corrective information strategies that increase awareness and trigger actions during infectious disease outbreaks, an online experiment (N = 700) was conducted, using a U.S. sample. After initial misinformation exposure, participants’ exposure to corrective information type (simple rebuttal vs. factual elaboration) and source (government health agency vs. news media vs. social peer) was varied, including a control group without corrective information. Results show that, if corrective information is present rather than absent, incorrect beliefs based on misinformation are debunked and the exposure to factual elaboration, compared to simple rebuttal, stimulates intentions to take protective actions. Moreover, government agency and news media sources are found to be more successful in improving belief accuracy compared to social peers. The observed mediating role of crisis emotions reveals the mechanism underlying the effects of corrective information. The findings contribute to misinformation research by providing a formula for correcting the increasing spread of misinformation in times of crisis.

Resumen: 

La creciente falta de veracidad de la información se ha convertido en un desafío fundamental para las comunicaciones. Saber cómo desacreditar este tipo de información errónea puede ser especialmente crucial para las crisis de salud pública. Para identificar estrategias de información correctivas que aumenten la conciencia y desencadenen acciones durante los brotes de enfermedades infecciosas, se realizó un experimento en línea (N = 700), utilizando una muestra de EE. UU. Después de la exposición inicial a la desinformación, la exposición de los participantes al tipo de información correctiva (simple refutación versus elaboración de hechos) y fuente (agencia de salud gubernamental versus medios de noticias versus pares sociales) fue variada, incluido un grupo de control sin información correctiva. Los resultados muestran que, si la información correctiva está presente en lugar de ausente, las creencias incorrectas basadas en información errónea quedan desacreditadas y la exposición a la elaboración de hechos, en comparación con una simple refutación, estimula las intenciones de tomar acciones protectoras. Además, se ha descubierto que las agencias gubernamentales y los medios de comunicación tienen más éxito a la hora de mejorar la precisión de las creencias en comparación con sus pares sociales. El papel mediador observado de las emociones de crisis revela el mecanismo subyacente a los efectos de la información correctiva. Los hallazgos contribuyen a la investigación sobre la desinformación al proporcionar una fórmula para corregir la creciente difusión de información errónea en tiempos de crisis.

Idioma: Inglés 

Publicado: Abril 2020

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