Nova Talenta: 2014-2015

Contenido Introducción 1. Inteligencia emocional, liderazgo transformacional y género: factores que influencian el desempeño organizacional / Ana María Galindo Londoño, Sara Urrego Mayorga; Director: Juan Carlos Espinosa Méndez. 2. El rol de la mujer en el liderazgo / Andrea Patricia Cuestas Díaz; Directora: Francoise Venezia Contreras Torres. 3. Liderazgo transformacional, clima organizacional, satisfacción laboral y desempeño. Una revisión de la literatura / Juliana Restrepo Orozco, Ángela Marcela Ochoa Rodríguez; Directora: Françoise Venezia Contreras Torres. 4. “E-Leadership” una perspectiva al mundo de las compañías globalizadas / Ángela Beatriz Morales Morales, Mónica Natalia Aguilera Velandia; Director: Juan Carlos Espinosa. 5. Liderazgo y cultura. Una revisión / Daniel Alejandro Romero Galindo; Directora: Francoise Venezia Contreras Torres. 6. La investigación sobre la naturaleza del trabajo directivo: una revisión de la literatura / Julián Felipe Rodríguez Rivera, María Isabel Álvarez Rodríguez; Director: Juan Javier Saavedra Mayorga. 7. La mujer en la alta dirección en el contexto colombiano / Ana María Moreno, Juliana Moreno Jaramillo ; Directora: Françoise Venezia Contreras Torres. 8. Influencia de la personalidad en el discurso y liderazgo de George W. Bush después del 11 de septiembre de 2011 / Karen Eliana Mesa Torres; Director: Juan Carlos Espinosa. 9. La investigación sobre el campo del followership: una revisión de la literatura / Christian D. Báez Millán, Leidy J. Pinzón Porras; Director: Juan Javier Saavedra Mayorga. 10. El liderazgo desde la perspectiva del poder y la influencia. Una revisión de la literatura / Lina María García, Juan Sebastián Naranjo; Director: Juan Javier Saavedra Mayorga. 11. El trabajo directivo para líderes y gerentes: una visión integradora de los roles organizacionales / Lina Marcela Escobar Campos, Daniel Mora Barrero; Director: Rafael Piñeros. 12. Participación emocional en la toma de decisiones / Lina Rocío Poveda C., Gloria Johanna Rueda L.; Directora: Francoise Contreras T. 13. Estrés y su relación con el liderazgo / María Camila García Sierra, Diana Paola Rocha Cárdenas; Director: Juan Carlos Espinosa. 14. “Burnout y engagement” / María Paola Jaramillo Barrios, Natalia Rojas Mancipe; Director: Rafael Piñeros.

Il silenzio e l’umanità autentica : antropologia ed etica fra Montaigne e Heidegger

During the long history of Western thought, silence has always represented the main condition for the development of a deep meditation about the Self. Through this activity, which could seem to be in contrast with social life and philosophical praxis, several thinkers have tried to reach the spiritual nature of human beings. However, when they had to assign a foundation to it, the same meditation, which had started from the same bases, brought them to opposite conclusions. The motive for this divergence is grounded on the fact that materiality is not the only component that constitutes silence, since it has indeed a complex nature and so it consists also of an immaterial part. In addition, this inner and more hidden aspect could only be perceived through a direct contact that is rarely and personally achieved. As a consequence of this complexity, beside an interpretation of silence as a manifestation of God’s voice and a proof of the transcendent peculiarity of human beings, another reading has developed along a parallel path. This interpretation has represented silence as an expression of an utterly immanent spirituality that characterizes humanity. Two authors, in particular, can exhibit this frequently forgotten second stream of Western thought that has unceasingly run from Hellenistic age to contemporary culture: they are Michel de Montaigne and Martin Heidegger. This essay seeks to rebuild this long and complex plot of the history of Western thought through the texts’ recourse. At the same time, it seeks to grasp, in the relationship between men and silence, some fundamental prerequisites that could be considered absolutely necessary in order to design an anthropology and, consequently, an ethics with the characteristics of a recovered authenticity. These two renovated categories, according to the immanent feature of silence, have their own justification exclusively in the voice of human conscience and their purpose lies precisely in the relationship with others.

As migrações : uma leitura política e uma visão humanista

Ao ter como base geral de pesquisa – A Europa diante do fenómeno migratório - a procura de uma nova Humanização – o objectivo deste trabalho consistiu na análise de algumas formas de manifestação e do impacto deste fenómeno nas sociedades democráticas inseridas nesse espaço. A consciência que as migrações têm seguido a história do mundo e as civilizações e que a sua análise permite avaliar o destino de seres humanos que partem em busca de soluções para as suas vidas. A convicção que a configuração das migrações tem um amplo significado social, cultural e económico e que uma política de imigração fechada, repressiva ou redutora do seu verdadeiro significado pode dividir a Humanidade. O receio que gera a continuidade de uma visão unilateral do Mundo e o esquecimento das condições existenciais difíceis de alguns países de emigração. A renúncia de alguns em escutar um discurso carecido de autenticidade e em apoiar um diálogo comprometido com alguns pressupostos ideológicos pouco claros. O desejo de participar na denúncia da propagação de atitudes facilitadoras dos sentimentos racistas e xenófobos. O repúdio pelo desnorteamento ontológico traduzido pela defesa de certas atitudes persecutórias infringidas aos imigrantes clandestinos. A adopção de uma política basicamente norteada pelo controlo das fronteiras e pela exploração económica dos imigrantes. A indignação pelo esquecimento ou negligência na vigilância e aplicação dos direitos fundamentais, em concreto, o direito ao uso da liberdade, a uma vida familiar normal, situações que lesam muitos. Foram, em suma, as razões que motivaram o trabalho. Porque, igualmente o exercício da cidadania e a inserção num espaço mundial em transformação requerem a actualização da leitura das relações dos homens entre eles e com as formas espaciais; porque o papel dos imigrantes na economia contemporânea é sentido como algo fundamental, e também a importância do seu lugar na estratégia de um desenvolvimento sustentável deve ser demonstrada e respeitada, desejou-se partilhar com outros a oportunidade de defender a participação colectiva sob princípios e premissas mais humanistas, e considerados fundamentais, para a construção de uma política de imigração digna, mais abrangente e indutora de pontes abertas e não de áreas amuralhadas.

Radiometric dating of the Siloam Tunnel, Jerusalem

The historical credibility of texts from the Bible is often debated when compared with Iron Age archaeological finds (refs. 1, 2 and references therein). Modern scientific methods may, in principle, be used to independently date structures that seem to be mentioned in the biblical text, to evaluate its historical authenticity. In reality, however, this approach is extremely difficult because of poor archaeological preservation, uncertainty in identification, scarcity of datable materials, and restricted scientific access into well-identified worship sites. Because of these problems, no well-identified Biblical structure has been radiometrically dated until now. Here we report radiocarbon and U-Th dating of the Siloam Tunnel(3-10), proving its Iron Age II date; we conclude that the Biblical text presents an accurate historic record of the Siloam Tunnel's construction. Being one of the longest ancient water tunnels lacking intermediate shafts(11,12), dating the Siloam Tunnel is a key to determining where and when this technological breakthrough took place. Siloam Tunnel dating also refutes a claim(13) that the tunnel was constructed in the second century BC.

'In practice it doesn't always work out like that.' Undergraduate experiences in a research community of practice

This paper examines the extent to which a structured undergraduate research intervention, UROP, permits undergraduate students early access to legitimate peripheral participation (LPP) in a research community of practice. Accounts of placement experiences suggest that UROP affords rich possibilities for engagement with research practice. Undergraduates tread a path of gaining access to mature practice while also building their own independence, participating in work that they see matters to the community and making gains in use of a shared research repertoire. Students place UROP experiences in a contrasting frame to research exercises experienced during degree programmes; their sense of the authenticity of the research experienced through UROP emerges as a key element of these accounts. The data generate the interesting question that the degree of engagement with mature practice may account for more of the gain from UROP than simply the quantity of contact other researchers.

Slideshow by POLLYFIBRE

A live work where digital and analogue media collide. This work uses the Internet as a central point of departure in that the script is taken from the Wikipedia entry for the word 'slideshow'. Words are randomly extracted and transferred onto photographic 35mm slide to be projected with analogue carousel slide projectors taking the audience into a visual wordplay, from Google to PowerPoint presentation. The sound of projectors is manipulated gradually into a clashing, confrontational, digital/analogue crescendo. 'Slideshow' investigates how information is sourced, navigated and considered in a culture of accelerating mediation. It posits the notion of a post-digital era in which we are increasingly faced with challenging questions of authenticity and authority.

Non-concordance between genetic profiles of olive oil and fruit: a cautionary note to the use of DNA markers for provenance testing.

To investigate the contribution of paternal alleles to the DNA content of olive oil, genetic analyses of olive DNA samples from fruits, leaves, and oil derived from the same tree (cv. Leccino) were carried out. DNA extracted from maternal tissues--leaves and flesh--from different fruits showed identical genetic profiles using a set of DNA markers. Additional simple sequence repeat (SSR) alleles, not found in the maternal samples, were amplified in the embryos (stone), and they were also detected in DNA extracted from the paste obtained by crushing whole fruits and from the oil pressed from this material. These results demonstrate that the DNA profile obtained from olive oil is likely to represent a composite profile of the maternal alleles juxtaposed with alleles contributed by various pollen donors. Therefore, care needs to be taken in the interpretation of DNA profiles obtained from DNA extracted from oil for resolving provenance and authenticity issues.

Voice, body and the transmission of the real in documentary theatre

This article analyses how listening is used to develop performances in Alecky Blythe’s verbatim theatre. Listening includes Blythe’s use of recorded oral interviews for devising performances, and also the actors’ creation of performance by precisely imitating an interviewee’s voice. The article focuses on listening, speaking and embodiment in London Road, Blythe’s recent musical play at London’s National Theatre, which adopted and modified theatre strategies used in her other plays, especially The Girlfriend Experience and Do We look Like Refugees. The article draws on interviews with performers and with Blythe herself, in its critical analysis of how voice legitimates claims to authenticity in performance. The work on Blythe is contextualised by brief comparative analyses. One is Clio Barnard’s film The Arbor, a ‘quasi-documentary’ on the playwright, Andrea Dunbar which makes use of an oral script to which the actors lip-sync. The other comparator is the Wooster Group’s Poor Theater, which attempts to recreate Grotowski's Akropolis via vocal impersonation. The article argues that voice in London Road both claims and defers authenticity and authority, inasmuch as voice signifies presence and embodied identity but the reworking of speech into song signals the absence of the real. The translation of voice into written surtitles works similarly in Do We Look Like Refugees. Blythe’s theatre, Barnard’s film and The Wooster Group’s performances are a useful framework for addressing questions of voice and identity, and authenticity and replication in documentary theatre. The article concludes by placing Blythe’s oral texts amid current debates around theatre’s textual practices.

Opening up climate research: A linked data approach to publishing data provenance

Traditionally, the formal scientific output in most fields of natural science has been limited to peer- reviewed academic journal publications, with less attention paid to the chain of intermediate data results and their associated metadata, including provenance. In effect, this has constrained the representation and verification of the data provenance to the confines of the related publications. Detailed knowledge of a dataset’s provenance is essential to establish the pedigree of the data for its effective re-use, and to avoid redundant re-enactment of the experiment or computation involved. It is increasingly important for open-access data to determine their authenticity and quality, especially considering the growing volumes of datasets appearing in the public domain. To address these issues, we present an approach that combines the Digital Object Identifier (DOI) – a widely adopted citation technique – with existing, widely adopted climate science data standards to formally publish detailed provenance of a climate research dataset as an associated scientific workflow. This is integrated with linked-data compliant data re-use standards (e.g. OAI-ORE) to enable a seamless link between a publication and the complete trail of lineage of the corresponding dataset, including the dataset itself.

‘Getting known’: Beckett, Ireland and the creative industries

In the context of national and global trends of producing Beckett’s work, this essay will investigate recent productions of Beckett’s drama which originate in Ireland and tour internationally, examining how these relate to the concept of national identity and its marketability, as well the conceptual and material spaces provided by large-scale festival events. In the last few months, Pan Pan has toured its production of All that Fall from Dublin to the Beckett festival in Enniskillen to New York’s BAM. The Gate Theatre, always a powerhouse of Beckett productions, continues its revival of Barry McGovern’s adaptation of Watt; after the Edinburgh festival, the show will play London’s Barbican in March 2013. While originating in Ireland, these productions – those of the Gate in particular – have an international, as well as domestic, appeal. Examining these and forthcoming Gate productions, I query to what extent a theatre company’s cultural origins and international profile may create a perceived sense of authenticity or definitiveness among critical discourses at ‘home’ and abroad, and how such markers of identity are utilized by the marketing strategies which surround these productions. This article will interrogate the potential convergence of the globalized branding of both Beckett’s work and Irish identity, drawing on the writings of Bourdieu to elucidate how identity may be converted into economic and cultural capital, as well as examining the role that the festival event plays in this process.

A newly discovered portrait of Napoleon by Jacques-Louis David

This article establishes the authenticity of a half length portrait of Napoleon, long thought to be a copy.

Star/poverty space: the making of the ‘development celebrity’

What is it that gives celebrities the voice and authority to do and say the things they do in the realm of development politics? Asked another way, how is celebrity practised and, simultaneously, how does this praxis make celebrity, personas, politics and, indeed, celebrities themselves? In this article, we explore this ‘celebrity praxis’ through the lens of the creation of the contemporary ‘development celebrity’ in those stars working for development writ large in the so-called Third World. Drawing on work in science studies, material cultures and the growing geo-socio-anthropologies of things, the key to understanding the material practices embedded in and creating development celebrity networks is the multiple and complex circulations of the everyday and bespectacled artefacts of celebrity. Conceptualised as the ‘celebrity–consumption–compassion complex’, the performances of development celebrities are as much about everyday events, materials, technologies, emotions and consumer acts as they are about the mediated and liquidised constructions of the stars who now ‘market’ development.Moreover, this complex is constructed by and constructs what we are calling ‘star/poverty space’ that works to facilitate the ‘expertise’ and ‘authenticity’ and, thus, elevated voice and authority, of development celebrities through poverty tours, photoshoots, textual and visual diaries, websites and tweets. In short, the creation of star/poverty space is performed through a kind of ‘materiality of authenticity’ that is at the centre of the networks of development celebrity. The article concludes with several brief observations about the politics, possibilities and problematics of development celebrities and the star/poverty spaces that they create.

Access and excess in The Texas Chain Saw Massacre

Much is made of the viscerally disturbing qualities embedded in The Texas Chain Saw Massacre - human bodies are traumatised, mutilated and distorted – and the way these are matched by close and often intense access to the performers involved. Graphic violence focused on the body specifically indicates the film as a key contemporary horror text. Yet, for all this closeness to the performers, it soon becomes clear in undertaking close-analysis of the film that access to them is equally characterised by extreme distance, both spatially and cognitively. The issue of distance is particularly striking, not least because of its ramifications on engagement, which throws up various aesthetic and methodological questions concerning performers’ expressive authenticity. This article considers the lack of access to performance in The Texas Chain Saw Massacre, paying particular attention to how this fits in with contemporaneous presentations of performance more generally, as seen in films such as Junior Bonner (Sam Peckinpah, 1972). As part of this investigation I consider the affect of such a severe disruption to access on engagement with, and discussion of, performance. At the heart of this investigation lie methodological considerations of the place of performance analysis in the post-studio period. How can we perceive anything of a character’s interior life, and therefore engage with performers who we fundamentally lack access to? Does such an apparently significant difference in the way performers and their embodiment is treated mean that they can even be thought of as delivering a performance?

Telefantasy tower blocks: space, place and social realism shake-ups in Misfits

This article considers the ways in which British youth telefantasy Misfits (E4, 2009–13) takes up and makes strange urban spaces familiar from social-realist narratives. Filmed on the sprawling East London estate, Thamesmead, the programme chronicles a group of young offenders who are given powers by a freak storm, turning them into ‘ASBO superheroes’. Misfits depends on its British urban landscapes for the assertion of its ‘authenticity’ within British youth television, using spaces and landscapes familiar from urban youth exploitation cinema and television's narratives of the underclass. After situating the series within existing cultural discourses and recent developments in social-realist representations, the article explores how Misfits disrupts what have become signifiers for the ‘real’ – the brutalism of housing estates, the grey of the concrete and sky – by making them strange, turning them into telefantasy. The series presents the estate as an uncanny place: the domestic, social-realist world shifted into a fantastical space by the storm. Through close analysis, this article explores how the familiar spaces become skewed and unsettling to match our protagonists' isolation, shifting bodies and scrambled sense of self.

Chinese overseas doctoral student narratives of intercultural adaptation

This study aims to explore how Chinese overseas doctoral students adjust to a different academic, social and cultural environment, using Giddens’ theoretical framework of self-identity (1991). The findings indicate the participants proactively used various coping strategies in meeting challenges, and adapting to new social environments. Continuity and stability of self-identity were achieved either culturally or academically through self-reflexivity, autonomy, creativity, authenticity, and reliance on an ontological identity. The result is to challenge the grand narrative of essentialised “problematic Chinese learners”.