Efectos reglamentarios y jurisdiccionales del derecho comunitario Andino sobre el derecho administrativo colombiano

Este trabajo se soporta sobre una base conformada por dos conceptos, que constituyen el horizonte contextual de la investigación: Derecho Administrativo y Comunidad de integración. Es claro que al hablar de una Comunidad de integración específica como la Comunidad Andina (CAN), incide de forma directa en la actividad del derecho administrativo.Ha sido necesario que los países que conforman los grupos de integración económica cedan parte de sus competencias para crear un ordenamiento jurídico de orden supranacional, el cual modifica la dinámica social de las relaciones comerciales y afecta la estructura de la administración pública, haciendo que el derecho administrativo no se limite a interactuar solo con derecho nacional. Esta mutua dependencia de las políticas internas y las regionales se realiza, entonces, cada vez que existe participación y compromiso de los Estados frente a las decisiones, de carácter vinculante o no. En esa medida surge el problema de investigación tendiente a esclarecer cómo ha sido la adopción de las decisiones e interpretaciones, emanadas de los mecanismos oficiales del Derecho Comunitario Andino, en el ordenamiento jurídico colombiano. La existencia de varios puntos de vista con respecto a la obligatoriedad o no de dicha adopción, moldea un tema de suficiente amplitud y profundidad para ser estudiado en un trabajo de investigación.

Régimen jurídico de los activos eléctricos en Colombia: planteamiento general y principales problemas.

La energía eléctrica y los bienes o activos eléctricos (de acuerdo con la definición técnica) con que se lleva a cabo su prestación, goza de una particular regulación y normatividad, explicables por la importancia capital de este servicio público, sumado al diseño institucional traído por la constitución de 1991, lo que la hace especialmente compleja, dinámica y abierta a precisiones. Es ese sentido, se parte de un entendimiento inicial de todos los activos que conforman una red de generación, transmisión y distribución eléctrica, para de esa forma comenzar a esbozar el régimen jurídico de los mismos, dependiendo de su posición dentro de la cadena de suministro eléctrico. Una vez concluido este acercamiento, se abordan los principales problemas previsibles desde una perspectiva puramente académica, como por ejemplo el relacionado con el alcance de los conceptos de la CREG y su valor normativo, la presunta inembargabilidad de los bienes destinados a la prestación de servicios públicos en cabeza de comunidades organizadas y el problema de la propiedad de particulares sobre activos conformantes de la red de suministro eléctrico y la salida normativa a ese conflicto (pues no debe olvidarse que los propietarios de activos de uso general, de acuerdo con la CREG, deben ser prestadores de servicios públicos domiciliarios) de modo tal que se respeten los derechos de propiedad. De cada uno de estos interrogantes surgen soluciones que lejos de zanjar las discusiones al respecto, buscan abrir el debate sobre un tema de tan capital importancia.

Las reformas administrativas de las entidades territoriales: Una mirada desde sus limitaciones, controles y riesgos

Teniendo en cuenta los importantes aportes efectuados desde los estudios académicos a los procesos de reforma administrativa, la importancia de las reformas administrativas en un mundo cada vez más globalizado y la necesidad de profundizar en las reformas administrativas de las entidades territoriales, este trabajo de investigación tiene por objeto analizar el marco conceptual, normativo y jurisprudencial de las reformas administrativas, estudiando con detalle sus limitaciones y su control, particularmente para el caso de las entidades territoriales en Colombia. De este modo, con ocasión de esta investigación se busca identificar de forma clara el panorama sobre aquellos aspectos en los que las entidades territoriales tienen un mayor o menor grado de autonomía para llevar a cabo sus procesos de reforma administrativa, de tal forma que sea posible identificar algunos riesgos relevantes asociados a dicho panorama. Así, como importantes logros u objetivos de esta investigación se destacan los siguientes: (i) identificar y analizar las principales aproximaciones doctrinales realizadas a nivel mundial sobre las reformas administrativas, (ii) describir aquellos aspectos en los que las entidades territoriales tienen mayor o menor autonomía para adelantar sus procesos de reforma administrativa, (iii) analizar las clases de controles aplicables a estos procesos profundizando en aquellos aspectos que pueden generar su nulidad e (iv) identificar una serie de riesgos a los que están sometidos los procesos de reforma administrativa de las entidades territoriales en Colombia. Todo lo anterior permitirá responder con claridad la siguiente pregunta que ha sido una idea estructural a partir de la cual se ha desarrollado esta investigación: ¿Cuál es el marco conceptual, las limitaciones, los controles y los riesgos de las reformas administrativas a ser adelantadas por las entidades territoriales en Colombia?

Descripción de la estructura organizacional del área de responsabilidad social de BELCORP

El presente estudio hace referencia al área de Responsabilidad Social Empresarial de una empresa del sector de belleza. En primera instancia se realiza un análisis bibliográfico de la Responsabilidad Social y sus ejes; de esta manera se puede analizar a profundidad cuáles son las condiciones para cumplir con esta importante gestión y cómo realizarla. La estructura organizacional, se define en el presente trabajo para reiterar que la responsabilidad social debe estar inmersa en los objetivos estratégicos de la compañía. Este concepto se establece dentro de la matriz metodológica que permitió avanzar en la investigación; en dicha Matriz se evaluaron cuatro variables: evolución del área, plataforma estratégica de la empresa, división y coordinación del trabajo del área. Después del análisis se evidencia la importancia del involucramiento de todas las áreas de la compañía para lograr ser una empresa socialmente responsable. Este aspecto es fundamental pues integra los grupos de interés generando un beneficio tanto para éstos como para la empresa.

Caracterización del comportamiento emprendedor para los estudiantes de administración de la universidad del rosario proyecto de investigación

El emprendimiento como campo de estudio ha cobrado una creciente relevancia en las agendas académicas y gubernamentales del último quinquenio por su capacidad para empujar el desarrollo económico y los procesos de innovación en los países. Un ejemplo de ello es Colombia, donde el nivel de impacto ha sido tan elevado que se han formalizado desde marcos regulatorios como la ley 1014 del 2006 para el fomento a la cultura empresarial, hasta instituciones de todo tipo para el fomento al emprendimiento empresarial. No obstante, los esfuerzos por estructurar espacios para estimular el emprendimiento deben trascender más allá del simple asistencialismo, para centrarse en la definición de planes estratégicos que permitan la formación de emprendedores de una manera articula y congruente con objetivos y políticas claramente identificadas. Por tal razón, desde el centro de emprendimiento de la Universidad de Rosario se impulsó el desarrollo de un estudio que permitiese la caracterización del perfil emprendedor de los estudiantes, a fin de identificar sus fortalezas y debilidades. Este estudio toma como base la metodología de características del comportamiento emprendedor o CCE para estudiar los alumnos de pregrado de la Facultad de Administración en cada uno de sus tres programas. Al final con estos resultados el Centro Emprendimiento podrá formular cada uno de sus planes, programas y proyectos, así como también políticas asociadas al desarrollo de las cualidades necesarias para formar mejores emprendedores (Pulgarín, S. 2011).

Catolicismo social y orientación ideológica política de izquierda en Colombia: una puerta abierta por Concilio Vaticano II

El ´aggiornamento´ de la Iglesia Católica con los signos de los tiempos, llevó a la institución eclesiástica a proponer, a la luz del Evangelio, soluciones cristianas para los problemas del género humano en el mundo moderno. El catolicismo se reconcilio así con el mundo moderno, trasladándose de su posición intransigente, propia del proceso de Romanización de la Iglesia Católica del siglo XIX, hacia una apertura de las ventanas de la Iglesia para que entrara el aire del mundo. Con el Concilio Ecuménico Vaticano II, la Iglesia posibilitó pensar en la existencia de un puente entre el catolicismo y la izquierda en Colombia, abriéndose al diálogo con visiones de mundo que tradicionalmente había rechazado. Con ello se fue cerrando la brecha entre el catolicismo y la orientación ideológica política de izquierda en el país, permitiendo pensar en la posibilidad de ser católico y de izquierda en el contexto político Colombiano.

Rafael Dieste, el arte y el pueblo.

Resumen tomado de la publicación

Paralelismos y divergencias entre Juan Tenorio de Tirso de Molina y Miguel Páramo, personaje de Juan Rulfo.

Resumen en inglés

Antonio Muñoz Molina o la realidad de la ficción.

Montaje audiovisual en el que se ofrece una aproximación a la obra del escritor ubetense Antonio Muñoz Molina, con relatos, descripciones y una selección de imágenes. El vídeo presenta las declaraciones del autor sobre su propia obra, con una muestra de fragmentos de sus novelas, mostrando en conjunto lo que es la literatura de Muñoz Molina. Se acompaña de una Guía Didáctica que recoge objetivos y contenidos distribuidos en tres apartados: literatura, entorno social y cultural y lenguaje audiovisual; y una amplia sugerencia de actividades para trabajar con los alumnos de Educación Primaria, Secundaria y Adultos, como lecturas, debates, análisis o creación de textos. Incluye el texto completo del vídeo, la biografía de Muñoz Molina o un resumen de sus obras, así como la reproducción de algunos artículos publicados en la prensa sobre el escritor.

La fiesta del Chivo: Trujillo entre la autoridad patriarcal y la imagen salvaje de la nación (Dossier: Novela, historia y nación en América Latina)

En La Fiesta del Chivo, de Mario Vargas Llosa, el autor representa al dictador de la República Dominicana, Rafael Leonidas Trujillo, como un híbrido entre la autoridad patriarcal y la burocracia autoritaria. La reflexión que la autora propone se centra en la observación de la relación entre representaciones de la credibilidad del gobernante en el pueblo dominicano y las pretendidas “realidades”, referentes de estas representaciones en la novela, es decir, la relación entre la ficción literaria y la pretendida lectura cultural de la legitimidad del poder en la cultura popular. Una aproximación a esta siempre inconclusa relación entre la representación y su objeto y a las pretensiones de adecuación entre ambas nos permite observar la relativización de la violencia que forma parte de la mencionada representación literaria.

A Escola Superior de Administração e Negócios nos primeiros vinte anos (1941-1961): uma análise sobre o currículo em administração

Este trabalho disserta sobre o currículo da Escola Superior de Administração e Negócios (ESAN) desde a sua criação em 1941 pelo jesuíta Roberto Sabóia de Medeiros até o seu reconhecimento oficial como instituição de ensino superior pelo governo em 1961. Ao contextualizá-la perante o contexto político e econômico da sociedade paulista da época, a estruturação de disciplinas na escola foi também analisada de acordo com as principais características do ensino em administração no Brasil, conforme recentes trabalhos sobre o assunto. Esta pesquisa aponta que apesar da escola do Pe. Sabóia ser anterior à instituição das principais referências de ensino administrativo no país e no exterior, a ESAN estabeleceu em suas características a importação de saberes administrativos americanos e a racionalização como condição para a modernidade do país no fim do Estado Novo e, consequentemente, no fim da Segunda Guerra Mundial e início da Guerra Fria. Para tanto, foi utilizado como método de pesquisa a narrativa histórica, cujos princípios e delineamentos eram até então exclusivos ao campo da História e, por este motivo, contribuem para a perspectiva histórica em Estudos Organizacionais. Desta maneira, a narrativa analisa as atividades curriculares da ESAN à luz dos contextos social e da história da administração alusivos ao período estudado ao reiterar-se que o currículo de uma instituição de ensino é uma construção histórica, permeado por um discurso de poder e influenciado, direta e indiretamente, pelo contexto que o envolve. Por fim, este trabalho não teve como fim limitar uma análise sobre o currículo em administração no Brasil, mas sobretudo fomentar estudos sobre os primórdios do ensino na área do país, os quais mantém atualmente uma dedicação crescente.

Genetic structure of the ornamental tetra fish species Piabucus melanostomus Holmberg, 1891 (CHARACIDAE, IGUANODECTINAE) in the Brazilian Pantanal wetlands inferred by mitochondrial DNA sequences

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Desenvolvimento de nova embalagem para comercialização, transporte e liberação do parasitoide Cotesia flavipes (Cameron, 1891) (Hymenoptera: Braconidae)

Pós-graduação em Agronomia (Entomologia Agrícola) - FCAV

Rafael Moneo: la complessità del vuoto. Dalle matrici formali dell'opera di Oteiza e Chillida

The experience of void, essential to the production of forms and to make use them, can be considered as the base of the activities that attend to the formative processes. If void and matter constitutes the basic substances of architecture. Their role in the definition of form, the symbolic value and the constructive methods of it defines the quality of the space. This job inquires the character of space in the architecture of Moneo interpreting the meaning of the void in the Basque culture through the reading of the form matrices in the work of Jorge Oteiza and Eduardo Chillida. In the tie with the Basque culture a reading key is characterized by concurring to put in relation some of the theoretical principles expressed by Moneo on the relationship between place and time, in an unique and specific vision of the space. In the analysis of the process that determines the genesis of the architecture of Moneo emerges a trajectory whose direction is constructed on two pivos: on the one hand architecture like instrument of appropriation of the place, gushed from an acquaintance process who leans itself to the reading of the relations that define the place and of the resonances through which measuring it, on the other hand the architecture whose character is able to represent and to extend the time in which he is conceived, through the autonomy that is conferred to them from values. Following the trace characterized from this hypothesis, that is supported on the theories elaborated from Moneo, surveying deepens the reading of the principles that construct the sculptural work of Oteiza and Chillida, features from a search around the topic of the void and to its expression through the form. It is instrumental to the definition of a specific area that concurs to interpret the character of the space subtended to a vision of the place and the time, affine to the sensibility of Moneo and in some way not stranger to its cultural formation. The years of the academic formation, during which Moneo enters in contact with the Basque artistic culture, seem to be an important period in the birth of that knowledge that will leads him to the formulation of theories tied to the relationship between time, place and architecture. The values expressed through the experimental work of Oteiza and Chillida during years '50 are valid bases to the understanding of such relationships. In tracing a profile of the figures of Oteiza and Chillida, without the pretension that it is exhaustive for the reading of the complex historical period in which they are placed, but with the needs to put the work in a context, I want to be evidenced the important role carried out from the two artists from the Basque cultural area within which Moneo moves its first steps. The tie that approaches Moneo to the Basque culture following the personal trajectory of the formative experience interlaces to that one of important figures of the art and the Spanish architecture. One of the more meaningful relationships is born just during the years of his academic formation, from 1958 to the 1961, when he works like student in the professional office of the architect Francisco Sáenz de Oiza, who was teaching architectural design at the ETSAM. In these years many figures of Basque artists alternated at the professional office of Oiza that enjoys the important support of the manufacturer and maecenas Juan Huarte Beaumont, introduced to he from Oteiza. The tie between Huarte and Oteiza is solid and continuous in the years and it realizes in a contribution to many of the initiatives that makes of Oteiza a forwarder of the Basque culture. In the four years of collaboration with Oiza, Moneo has the opportunity to keep in contact with an atmosphere permeated by a constant search in the field of the plastic art and with figures directly connected to such atmosphere. It’s of a period of great intensity as in the production like in the promotion of the Basque art. The collective “Blanco y Negro”, than is held in 1959 at the Galería Darro to Madrid, is only one of the many times of an exhibition of the work of Oteiza and Chillida. The end of the Fifties is a period of international acknowledgment for Chillida that for Oteiza. The decade of the Fifties consecrates the hypotheses of a mythical past of the Basque people through the spread of the studies carried out in the antecedent years. The archaeological discoveries that join to a context already rich of signs of the prehistoric era, consolidate the knowledge of a strong cultural identity. Oteiza, like Chillida and other contemporary artists, believe in a cosmogonist conception belonging to the Basques, connected to their matriarchal mythological past. The void in its meaning of absence, in the Basque culture, thus as in various archaic and oriental religions, is equivalent to the spiritual fullness as essential condition to the revealing of essence. Retracing the archaic origins of the Basque culture emerges the deep meaning that the void assumes as key element in the religious interpretation of the passage from the life to the death. The symbology becomes rich of meaningful characters who derive from the fact that it is a chthonic cult. A representation of earth like place in which divine manifest itself but also like connection between divine and human, and this manipulation of the matter of which the earth it is composed is the tangible projection of the continuous search of the man towards God. The search of equilibrium between empty and full, that characterizes also the development of the form in architecture, in the Basque culture assumes therefore a peculiar value that returns like constant in great part of the plastic expressions, than in this context seem to be privileged regarding the other expressive forms. Oteiza and Chillida develop two original points of view in the representation of the void through the form. Both use of rigorous systems of rules sensitive to the physics principles and the characters of the matter. The last aim of the Oteiza’s construction is the void like limit of the knowledge, like border between known and unknown. It doesn’t means to reduce the sculptural object to an only allusive dimension because the void as physical and spiritual power is an active void, that possesses that value able to reveal the being through the trace of un-being. The void in its transcendental manifestation acts at the same time from universal and from particular, like in the atomic structure of the matter, in which on one side it constitutes the inner structure of every atom and on the other one it is necessary condition to the interaction between all the atoms. The void can be seen therefore as the action field that concurs the relations between the forms but is also the necessary condition to the same existence of the form. In the construction of Chillida the void represents that counterpart structuring the matter, inborn in it, the element in absence of which wouldn’t be variations neither distinctive characters to define the phenomenal variety of the world. The physics laws become the subject of the sculptural representation, the void are the instrument that concurs to catch up the equilibrium. Chillida dedicate himself to experience the space through the senses, to perceive of the qualities, to tell the physics laws which forge the matter in the form and the form arranges the places. From the artistic experience of the two sculptors they can be transposed, to the architectonic work of Moneo, those matrices on which they have constructed their original lyric expressions, where the void is absolute protagonist. An ambit is defined thus within which the matrices form them drafts from the work of Oteiza and Chillida can be traced in the definition of the process of birth and construction of the architecture of Moneo, but also in the relation that the architecture establishes with the place and in the time. The void becomes instrument to read the space constructed in its relationships that determine the proportions, rhythms, and relations. In this way the void concurs to interpret the architectonic space and to read the value of it, the quality of the spaces constructing it. This because it’s like an instrument of the composition, whose role is to maintain to the separation between the elements putting in evidence the field of relations. The void is that instrument that serves to characterize the elements that are with in the composition, related between each other, but distinguished. The meaning of the void therefore pushes the interpretation of the architectonic composition on the game of the relations between the elements that, independent and distinguished, strengthen themselves in their identity. On the one hand if void, as measurable reality, concurs all the dimensional changes quantifying the relationships between the parts, on the other hand its dialectic connotation concurs to search the equilibrium that regulated such variations. Equilibrium that therefore does not represent an obtained state applying criteria setting up from arbitrary rules but that depends from the intimate nature of the matter and its embodiment in the form. The production of a form, or a formal system that can be finalized to the construction of a building, is indissolubly tied to the technique that is based on the acquaintance of the formal vocation of the matter, and what it also can representing, meaning, expresses itself in characterizing the site. For Moneo, in fact, the space defined from the architecture is above all a site, because the essence of the site is based on the construction. When Moneo speaks about “birth of the idea of plan” like essential moment in the construction process of the architecture, it refers to a process whose complexity cannot be born other than from a deepened acquaintance of the site that leads to the comprehension of its specificity. Specificity arise from the infinite sum of relations, than for Moneo is the story of the oneness of a site, of its history, of the cultural identity and of the dimensional characters that that they are tied to it beyond that to the physical characteristics of the site. This vision is leaned to a solid made physical structure of perceptions, of distances, guideline and references that then make that the process is first of all acquaintance, appropriation. Appropriation that however does not happen for directed consequence because does not exist a relationship of cause and effect between place and architecture, thus as an univocal and exclusive way does not exist to arrive to a representation of an idea. An approach that, through the construction of the place where the architecture acquires its being, searches an expression of its sense of the truth. The proposal of a distinction for areas like space, matter, spirit and time, answering to the issues that scan the topics of the planning search of Moneo, concurs a more immediate reading of the systems subtended to the composition principles, through which is related the recurrent architectonic elements in its planning dictionary. From the dialectic between the opposites that is expressed in the duality of the form, through the definition of a complex element that can mediate between inside and outside as a real system of exchange, Moneo experiences the form development of the building deepening the relations that the volume establishes in the site. From time to time the invention of a system used to answer to the needs of the program and to resolve the dual character of the construction in an only gesture, involves a deep acquaintance of the professional practice. The technical aspect is the essential support to which the construction of the system is indissolubly tied. What therefore arouses interest is the search of the criteria and the way to construct that can reveal essential aspects of the being of the things. The constructive process demands, in fact, the acquaintance of the formative properties of the matter. Property from which the reflections gush on the relations that can be born around the architecture through the resonance produced from the forms. The void, in fact, through the form is in a position to constructing the site establishing a reciprocity relation. A reciprocity that is determined in the game between empty and full and of the forms between each other, regarding around, but also with regard to the subjective experience. The construction of a background used to amplify what is arranged on it and to clearly show the relations between the parts and at the same time able to tie itself with around opening the space of the vision, is a system that in the architecture of Moneo has one of its more effective applications in the use of the platform used like architectonic element. The spiritual force of this architectonic gesture is in the ability to define a place whose projecting intention is perceived and shared with who experience and has lived like some instrument to contact the cosmic forces, in a delicate process that lead to the equilibrium with them, but in completely physical way. The principles subtended to the construction of the form taken from the study of the void and the relations that it concurs, lead to express human values in the construction of the site. The validity of these principles however is tested from the time. The time is what Moneo considers as filter that every architecture is subordinate to and the survival of architecture, or any of its formal characters, reveals them the validity of the principles that have determined it. It manifests thus, in the tie between the spatial and spiritual dimension, between the material and the worldly dimension, the state of necessity that leads, in the construction of the architecture, to establish a contact with the forces of the universe and the intimate world, through a process that translate that necessity in elaboration of a formal system.