Purpose -The aim of the research is to present the main challenges faced by Small and Medium Enterprises (SMEs) in the tourism industry, to build and enhance their value proposition within the framework of a digital environment. Design/methodology/approach -The authors carried out a review of the literature in databases using keywords. The selection of sources includes scientific articles and case studies based on different methods and contexts. Findings -The findings suggest that in a context characterized by the integration of the economy and the interference of Information and Communication Technologies (ICT), commercialization has become flexible and accessible. The above has had a tangible impact on the structure of the market and in the way in which the SMEs in the tourism industry are managed. Research limitations/implications -The study offers an up-to-date and global vision for future researchers through the review of the literature on SMEs located in the tourism industry in the context of a digital environment. Social implications -The study shows that to survive and grow, SMEs in the tourism sector must differentiate themselves from their competitors, evolve in their business model and rapidly integrate ICT in their organizational fabric. Originality/value -The construction of a value proposition for SMEs in the tourism sector should be settled on an understanding of the position held, on the competence of the competitors and the needs of the market.
The graphic representation of traumatic memory of war disasters constitutes a broad tradition that can be traced back to Francisco Goya. Comics, with the resources provided by their textual-visual narrative, have been part of that tradition especially since the 1950s. However, representing traumatic memory of war disasters is troublesome, in regard to the artists’ strategies and public reception – as shown by the conflicts between memory, history and myth posed in these works. This article develops a comparative study of traumatic memories in Spanish comics and presents an analysis of the modes of representation in works such as Carlos Giménez’s Paracuellos, Francisco Gallardo Sarmiento and Miguel Gallardo’s Un largo silencio, Antonio Altarriba and Kim’s El arte de volar and Paco Roca’s Los surcos del azar.
En 1992 se creó un marco integral de gestión y control llamado Balanced Scorecard (BSC), que incula lo financiero y lo no financiero en un único proceso, mejorando la rentabilidad y visualizando los resultados de forma rápida y completa. Cuando la industria 4.0 (I4.0) y la sostenibilidad son tendenciaen el mundo, las perspectivas del BSC deben ser específicas para la toma de decisiones. El sector hotelero es clave para el desarrollo del país al contribuir al PIB y al empleo. El objetivo de este artículo es, a través de una revisión de literatura, proponer dos perspectivas independientes al BSC en las PYMES del sector hotelero boutique, teniendo un enfoque cualitativo, descriptivo y explicativo de las mismas, resultando un servicio innovador y sostenible.
The objective in this paper is to present a proposal of a scale to measure the decision quality in infrastructure projects in the exploitation of oil and gas, as well as its foundations. One of the most important distinctions of Decision Analysis is the differentiation between a good decision and a good outcome, which is the approach of the scale, which occurs when decision making faces uncertainty. Therefore, a good decision does not always produce a good outcome. From this distinction, a progressive scale was designed, using an adjustment of the pairwise comparisons based on the Saaty scale achieving a quantitative hierarchy, which shows whether the decision guarantees quality, does not guarantee quality or is not acceptable. For its application, other existing decision processes used in the petroleum industry were located, from their common components a standardized decision analysis process was created, the common components are appropriate frame, objectives, decision and alternatives, risk and uncertainty, possibilities and modelling, values and exchanges and implementation and each of them subdivided into key aspects that are object of the measurement and evaluation. The objective set in a first stage was the proposed model of the measurement scale of decision quality and is subject to future validation work to verify its applicability in real life in a second stage.
El vecino. Historias (2019) es una novela gráfica de Santiago García y Pepo Pérez. Forma parte de la serie El vecino (2004-hoy), desarrollada en formatos y tonos narrativos variables; su argumento parte del contraste entre dos mundos, el cotidiano (la vida corriente de unos vecinos) y el fantástico (uno de ellos es un superhéroe). El vecino. Historias recopila historias cortas cuyas estrategias artísticas son analizadas en este ensayo. Cada una plantea diferentes juegos formales y tonales, a menudo desde perspectivas metalingüísticas que cuestionan las convenciones y formatos del cómic. También se exploran los significados ideológicos implícitos en los códigos de superhéroes.
<p class="Formatolibre" style="margin-bottom: 10.0pt; text-align: justify;"><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri Italic','serif'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD">Memorias de un periodista musical </span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri','sans-serif'; mso-bidi-font-family: 'Times New Roman'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD">es una novela gráfica que realizo con Santi Carrillo, periodista musical y director de </span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri Italic','serif'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD">Rockdelux</span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri','sans-serif'; mso-bidi-font-family: 'Times New Roman'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD">. Las memorias tienden a la evocación abstracta de recuerdos, sensaciones y emociones; por eso, su texto literario me ha planteado una serie de desafíos formales a la hora de transformarlo en una narración en imágenes, particularmente en pasajes ensayísticos y de memoria sobre su infancia o la muerte temprana de su padre. La obra, aún en proceso, se estructura en capítulos asociados a canciones concretas que forman parte de su biografía y memoria. </span></p><p class="Formatolibre" style="margin-bottom: 10.0pt; text-align: justify;"><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri','sans-serif'; mso-bidi-font-family: 'Times New Roman'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD">El cómic tradicional ha sido durante la mayor parte de su historia una forma / medio enfocado a la acción concreta y </span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri Italic','serif'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD">externa</span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri','sans-serif'; mso-bidi-font-family: 'Times New Roman'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD">: la comedia de </span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri Italic','serif'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD">slapstick</span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri','sans-serif'; mso-bidi-font-family: 'Times New Roman'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD">, ya desde sus comienzos como medio de masas a finales del siglo XIX, y la ficción de aventuras (exóticas, ciencia ficción, superheroicas, etc.) han nutrido la mayoría del cómic del siglo XX, juvenil. No ha sido hasta décadas recientes cuando un cómic artístico para adultos, la llamada novela gráfica, ha abordado otras temáticas: la memoria, la historia, la biografía, lo ensayístico; en resumen, la </span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri Italic','serif'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD">realidad</span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri','sans-serif'; mso-bidi-font-family: 'Times New Roman'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD">. Estas nuevas temáticas exigen la elaboración de </span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri Italic','serif'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD">nuevos recursos formales</span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri','sans-serif'; mso-bidi-font-family: 'Times New Roman'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD"> para representar el mundo </span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri Italic','serif'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD">interior</span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri','sans-serif'; mso-bidi-font-family: 'Times New Roman'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD"> de ideas, emociones y sensaciones. En </span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri Italic','serif'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD">Memorias de un periodista musical</span><span style="font-size: 9.0pt; mso-bidi-font-size: 10.0pt; font-family: 'Calibri','sans-serif'; mso-bidi-font-family: 'Times New Roman'; mso-ansi-language: ES-TRAD;" lang="ES-TRAD"> he acudido al uso de diseños alegóricos, metáforas visuales y la combinación de diversos lenguajes (contrastes entre dibujo y fotografía) y estilos representacionales (de la caricatura al realismo).</span></p>
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