Tomás González

In recent decades, Total Quality Management (TQM) has become an important phenomenon in the world of business, but the implications and scope of quality programs are quite different everywhere. Since different explanations have been given, most authors agree that management commitment and leadership are indispensable elements for a successful TQM implementation. Nevertheless, the study of the literature reflects a terminological confusion on this point. The authors of this paper argue that commitment and leadership are not synonymous terms.While committed managers may lead the process of quality using exclusively their formal authority, those who are leaders generate a kind of influence that goes further than that. This paper suggests a multidimensional perception of leadership and upholds that only by considering the ethical dimension of leadership, together with technical and psycho-emotive ones, it is possible to explain more accurately interpersonal influences beyond the scope of power. As an illustrative example of the importance of considering each dimensions, the authors present two case studies of TQM implementation.

Conceptualization and measurement of organizational commitment involve different dimensions that include economic, affective, as well as moral aspects labelled in the literature as: ‘continuance’, ‘affective’ and ‘normative’ commitment. This multidimensional framework emerges from the convergence of different research lines. Using Aristotle’s philosophical framework, that explicitly considers the role of the will in human commitment, it is proposed a rational explanation of the existence of mentioned dimensions in organizational commitment. Such a theoretical proposal may offer a more accurate definition of ‘affective commitment’ that distinguishes feelings from rational judgments. The use of a philosophical explanation coherent with psychological findings also allows the discovery of a wider moral concept of ‘normative commitment’

In this article the so-called “Song of Hanna” is approached to propose a new reading of it, making a review of its main variants, particularly with regard to vv. 6 to 8. The sources which are contrasted are TM, LXX, the Vorlage of the LXX and 4Qsam, among others. The current state of the studies related to the text of 1 Sam 2: 6-10, and the “Song of Hanna” is also addressed, to propose a synthesis of the ideas presented in the studies, in order to make a presentation of the way in which the text of 1Sam 2: 6-10 was inserted in its context.

Malgré l’avènement de la figure de l’acteur créateur au tournant des XIXe et XXe siècles, les procédés de copie, d’imitation et de réactivation constituent une part non négligeable des outils convoqués dans les exercices spécifiques au jeu. Cette persistance, qui trouve son origine dans le Paradoxe sur le comédien de Diderot, se lit et se décline tout au long de l’histoire des théories du jeu, dans le recours fréquent à un modèle, dont le type varie (nature ou réel, arts plastiques, personnage théâtral, performance). C’est cette double continuité, celle des procédés de copie et du modèle dans les théories du jeu auxquelles s’adossent des pratiques et dont découlent des modes de fabrication, qui a nourri une expérimentation pédagogique pratique au sein de La Manufacture – Haute École des Arts de la Scène de Lausanne. Les ateliers élaborés pour les étudiant.e.s consistant à mettre en œuvre ces trois opérations, à leur proposer une histoire sensible, c’est-à-dire éprouvée, du jeu de l’acteur, et à leur faire percevoir l’importance des procédés de copie, d’imitation et de réactivation dans la pensée et dans la pratique du jeu.