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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