Does the board of directors influence cost of debt financing? This study of a sample of Spanish listed companies during the period 2004-2007 provides some evidence about the question. The results suggest that two board attributes - director ownership and board activity - appear to influence in the risk assessment of debtholders because of their ability to reduce agency cost and information asymmetry. We also find a non-linear relationship between board size and cost of debt, suggesting that from certain levels (...) the benefits of large boards may be outweighed by the cost of poorer communication and increased decision-making time. (shrink)
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"La democracia neopopulista es incluyente de la plebe, de los de abajo", mientras que, en tiempos de globalización, la democracia liberal tiende a conformar "la fachada gestional de las políticas del gran capital internacional", sostiene Roberto Follari, pensando en el presente latinoamericano. Doct..
The idea of a returning golden age is widely understood and commonly presented both as a staple of Augustan propaganda and as a pervasive aspiration of Augustan society. The Carmen Saeculare—an official commission for a public festival—is presented as a means by which the regime proclaimed to an enthusiastic populace the imminent renascence of the golden race. The aim of this article is to draw attention both to the failure of the Carmen Saeculare explicitly to proclaim the renascence (...) of the race, and to the critique implicit in the poem of the very idea of a renascence. The golden race, according to this reading, might be undesirable on account of its very goldenness. The golden race was the subject of a complex myth at the centre of a complex discourse: neither the ‘official’ nor the popular response to the idea of its return can have been as simple as they are frequently portrayed. (shrink)
RESUMO Nas fronteiras entre teatrologia e dialogismo, o presente artigo propõe reflexões sobre o processo de encenação do texto A serpente, de Nelson Rodrigues, nos anos de 2017 e 2018 pelo Carmen Group - Centro de Treinamento em Corpo, Arte, Movimento e Encenação. A partir de uma perspectiva que relata e, ao mesmo tempo, analisa etapas de criação cênica, o texto dialoga com a teoria bakhtiniana, buscando compreender aspectos constitutivos de três experimentos teatro[dia]lógicos: a mostra do trabalho laboratorial do (...) grupo, denominada Serpentes de laboratório, a montagem de A Serpente em seu formato de Espetáculo e a sessão de Desmontagem Cênica. Os resultados sinalizam, para além das especificidades teóricas, técnicas e metodológicas características de cada um dos experimentos, aspectos relacionados à autoria, recepção e significação nas diferentes situações de comunicação teatral vivenciadas. ABSTRACT On the border between theater and dialogism, this article proposes reflections on the process of staging A Serpente, by Nelson Rodrigues in 2017 and 2018 by the Carmen Group - Body, Art, Movement and Staging Training Center. From a perspective that reports and analyzes at the same time steps of scenic creation, the text dialogues with the Bakhtinian theory, seeking to understand the constitutive aspects of three dialogical-theatrical experiments: the group's laboratory work, called Serpentes de laboratório, the assembly of A Serpente [The Serpent]in its Show format and the session of Disassembly Scenic. In addition to the theoretical, technical and methodological specificities of each one of the experiments, results signal aspects concerning authorship, reception and significance of the different situations of theatrical communication experienced by the group. (shrink)
The aim of this study is to determine the historical and cultural context of the pseudoepigraphic Carmen de resurrectione. The Carmen treats poetically many subjects of Christian eschatology: the second coming of Christ, the final judgement, heaven and hell, the universal conflagration. The author believes that the end time is imminent. This perception is common to all the Christians who experienced tribulations: persecutions, natural calamities, barbarian invasions. These painful events urged the Christians to undertake a path of true (...) conversion, in the religious and moral sense. Unlike other poets, the Anonymous author emphasises the virtuous value of the hope of divine reward rather than the fear of divine punishment. The same perspective can be found in the poets and in the monks of early fifth-century Gaul, who suffered the barbarian invasion of 406. (shrink)
Carmen 4.2 is one of the most commented upon of the odes of Horace. It is indeed a complex poem. To summarize roughly: addressing the young poet Iullus Antonius, Horace presents the dangers of emulating Pindar, offering what seems like a lengthy description as well as an approximation of Pindar's own poetic style . Not as a doomed Icarus imitating the grand Pindaric swan, but in his own preferred mode, like a bee on the banks of Tibur, Horace will (...) continue to produce his own highly refined poems on a small scale . Iullus Antonius, on the other hand, will sing of Augustus’ triumph maiore plectro . Modestly, Horace himself will be content to join in with the popular chants for Augustus’ triumphal return as one happy civilian among the crowd . Iullus Antonius will moreover offer a grand sacrifice of ten bulls and as many cows on that occasion, whereas Horace promises a single bull-calf that he is saving especially for the purpose . I will try to offer a new interpretation of these last two strophes by pointing out an unnoticed allusion to a Hellenistic subtext. (shrink)
El ensayo pretende mostrar como la obra de García Lorca traspasa la barrera de lo puramente estético, para prefigurarse como un emblema de los problemas sociales que aquejaban a la España de su época, es decir lo social llevado al plano estético de una manera singular; así, el poeta granadino logra trascender a la muerte, tema recurrente en toda su obra, forjando un estilo y modelo de vida que se convertirán en paradigmas dentro del escenario literario hispanoamericano.
Sin duda alguna, Federico García Lorca es uno de los nombres más destacados en la historia de la literatura. Pero también debe ser reconocida y valorada como merece su vertiente musical, ya que fue un buen intérprete de piano. En este sentido, conoció a los principales compositores de la España de su época. Además, fue un gran amante del flamenco y de la música tradicional y entró en contacto con cancioneros y repertorios de muy distintas épocas. Incluso, empleó numerosas (...) canciones en sus obras teatrales y en sus montajes con la compañía La Barraca. Tampoco debemos olvidar su faceta de investigador. Así, estos serán los temas principales del presente artículo, en el que también nos centraremos en su grabación Canciones populares españolas, que realizó junto con la bailaora y cantante La Argentinita. Undoubtedly, Federico García Lorca is one of the most prominent names in the history of literature. But he must also be recognized for his musical side, as he was a very good piano player. He met the most important Spanish composers in his days and really loved the flamenco and traditional music. He found songbooks from very different periods and even used numerous songs in his plays and productions with La Barraca. The main topic in this article is going to be his role as an investigator, because he conducted numerous studies in his travels in Granada, his province, Spain and America. And it is focused on his recording from 1931, Spanish folksongs, made in conjunction with the dancer and singer La Argentinita. (shrink)
The Interrogatory of the year 1755 is the document which had to carry out the city of Lorca to elaborate the "Catastro de la Ensenada". lt has been possible to know, through it, the productive structure of a rural, gremial and conservative country where the political powder was kept by the oligarchy. In this paper we have studied the division and use of the land, its production, yields, prices and taxes as well as the manufacturing, comercial and industrial activities. (...) Also, this paper allow us tho know the distribution of the employed people and their rentallevel, and also show the way in which the burocracy gives to this rural country sorne urban character. We have tried to carry out an approach to a pre-industrial society of the "Old Regimen" which has an important density of population and where the guilds gave to this society gremial character. (shrink)
En primer término se analiza brevemente el contexto que posibilita en García Lorca la búsqueda de un nuevo lenguaje poético durante su estadía en Nueva York entre 1929-1930. Posteriormente se analiza el concepto de flâneur. Para ello se consideran las elaboraciones que desarrolló Walter Benjamin a propósito de la experiencia de Charles Baudelaire frente a las transformaciones urbanas y sociales que sufrió París a mediados del siglo XIX, durante el Segundo Imperio en Francia. Finalmente se indaga en la eventual (...) configuración de la figura del flâneur en Poeta en Nueva York de Federico Garcia Lorca. First of all, it’s analyzed briefly the context that makes possible in García Lorca the search of a new poetic language during his stay in New York between 1929 and 1930. Subsequently it’s analyzed the concept of flâneur. Because of that, it must be taken into account the devise that Walter Benjamin explained according to Charles Baudelaire’s experience against the urban and social transformations that hit Paris in the 19th century during the Second French Empire. Finally it makes inquiries in the possible configuration of the flâneur in Poeta en Nueva York by Federico García Lorca. (shrink)
Con Prólogo de José Luis Pinillos, una especialista en Estética, Ana María Leyra, y otra en Filosofía de la Ciencia, Carmen Mataix, han publicado este libro, en el que pretenden aproximar e interrelacionar conceptualmente la ciencia y el arte. Su punto de partida consiste en considerar, citando a Prigogine, que “la ciencia es sobre todo un fenómeno cultural”. Superando la escisión entre ciencia y cultura, las autoras se proponen confrontar el recorrido experimentado por la Estética desde el siglo XIX (...) con las modificaciones habidas en la propia ciencia, sobre todo a partir de la aparición de la mecánica cuántica. Según las autoras, el principio de indeterminación de Heisenberg ha introducido a la ciencia en la vía del fenomenismo, e incluso de un fenomenismo mucho más fuerte que el que en su día propusieron Berkeley o Mach. Las discusiones entre Bohr y Einstein son comparadas, siguiendo de nuevo a Prigogine, con las que mantuvieron Leibniz y Clarke a principios del siglo XVIII. La noción de “realidad” está en el centro del debate entre los científicos, habiéndose introducido nuevas variables, como el tiempo y el sujeto, que hasta el siglo XX habían quedado fuera del contexto científico. Por el contrario, tanto el tiempo como el sujeto “ocupaban con pleno derecho el mundo de la estética, del arte o de la literatura”, temas que ahora tiene que incorporar la reflexión científica. Frente al modelo mecanicista que imperó en la ciencia moderna, las autoras proponen un “modelo estético” para la ciencia contemporánea. (shrink)
