The satiricon

XL, 228 p

Deconstructing Corporate Governance: Absolute Director Primacy

Microtheoretical models of the corporation which focus on corporate governance attempt to answer two deceptively simple, but fundamentally elusive questions: ‘Who are in control of the corporation?’ and ‘Whose interests ultimately control those in control of the corporation?’ Both questions remain partially unanswered within the models developed to date by corporate theoreticians. This Article proposes a radically new model: \u27absolute director primacy.’ Existing microtheoretical models conceive that we only need to—and, indeed, can—determine the controlling interests guiding corporate decisionmaking in order to prove the existence of control over the decisionmaking latitude of corporate boards. The absolute director primacy model reverses this thinking: The corporate board—as the private sector equivalent of a modern Leviathan—has absolute and infinite decisionmaking latitude in order to control the business and affairs of the corporation. Nothing within corporate law provides any meaningful modicum of predictive ability regarding director behavior ex ante or director accountability ex post. As a result, model-immanent explanations of the phenomenon of general investor confidence pre-investment in theface of absent director accountability post-investment become logically impossible. Thus, the absolute director primacy model not only posits a complete absence of ex-post director accountability but accepts thecomplete ex-ante indeterminability of director decisionmaking. Accordingly, the absolute director primacy model further posits that largely unexplained and currently unaccounted-for protolegal variables control both director behavior and the microtheoretical models of the firm that attempt to explain and predict such behavior

Giannozzo Manetti's New Testament. Translation Theory and Practice in Fifteenth-Century Italy:Translation Theory and Practice in Fifteenth-Century Italy

In het midden van de vijftiende eeuw maakte de Florentijnse humanist Giannozzo Manetti (1396-1459) een Latijnse vertaling van het Nieuwe Testament. Hij baseerde zijn vertaling op de Vulgaat, maar liet zich beïnvloeden door de humanistische ideeën over taal en vertaling die in zijn tijd opgeld deden. Manetti’s handschriftenverzameling is grotendeels bewaard gebleven en bevindt zich nu onder de Palatini in de Vaticaanse Bibliotheek. Op grond van zijn handschriften kan het vertaalproces van zijn Nieuwe Testament worden gereconstrueerd. Correcties en aanpassingen in Manetti’s eigen exemplaar van de tekst laten zien hoe zijn methode zich ontwikkelde. Ook zijn Griekse en Latijnse bronteksten zijn bekend. Verder heeft Manetti beschikking gehad over een exemplaar van Lorenzo Valla’s aantekeningen bij het Nieuwe Testament (de Collatio of Annotationes). Zijn opvattingen over correct vertalen, die hij uiteenzet in zijn traktaat Apologeticus, zijn deels ontleend aan Leonardo Bruni’s De interpretatione recta. Mijn proefschrift beschrijft Manetti’s vertaaltheorie en -praktijk tegen de achtergrond van het Italiaanse humanisme van de vijftiende eeuw. Het omvat ook een kritische editie van zijn vertaling van het Nieuwe Testament

The sight of sound : Resonances between music and painting in seventeenth-century Italy

The seventeenth century was a period of significant innovations and developments in music theory, vocal music, and instrumental music. It also was a period of innovation in paintings that depict musicians and musical instruments. Art historians and musicologists have tended to interpret music-themed paintings as pictorial records of contemporary musical performance practices in either domestic or sacred settings. Such an approach, however, overlooks the subtleties and complexities of the individual paintings and fails to consider possible relationships between the paintings and broader social, political, and religious contexts of Italian Seicento painting. This study dismantles the idea of paintings of musical subj ects as a homogenous group and demonstrates that these works are more visually and intellectually complex than previously thought. This thesis presents five case studies that analyze music-themed paintings produced between 1590 and 1677 from different perspectives: Chapter One presents a reassessment of Caravaggio's The Lute Player, created for Vincenzo Giustiniani, that challenges existing interpretations rooted in performance practices and offers, instead, a reading in light of the madrigaVmonody debate. Chapter Two focuses on the many paintings of St. Cecilia produced after 1600 to explore both the implications of a female saint increasingly depicted with stringed instruments and the effects, pictorially and spiritually, of her rapt engagement with music-making. Chapter Three analyzes critically for the frrst time the relationship between Bernardo Strozzi's rustic peasant musicians and his patrons' desires to fashion themselves as part of the new nobility in Genoa and Venice. Chapter Four explores how Pietro Paolini's three images of luthiers comment on the artisanship of instrument making; on the relative merits of the senses; and on the enduring virtues of knowledge, skill, and physical labor. Chapter Five enlarges upon existing scholarship on Evaristo Baschenis' musical instrument still-lifes by investigating overlooked religious undercurrents beyond merely vanitas, and by exploring the social and spiritual dimensions of silenc

Still Life and Death Metal: Painting the Battle Jacket

This thesis aims to conduct a study of battle jackets using painting as a recording and analytical tool. A battle jacket is a customised garment worn in heavy metal subcultures that features decorative patches, band insignia, studs and other embellishments Battle jackets are significant in the expression of subcultural identity for those that wear them, and constitute a global phenomenon dating back at least to the 1970s. The art practice juxtaposes and re-contextualises cultural artefacts in order to explore the narratives and traditions that they are a part of. As such, the work is situated within the genre of contemporary still life and appropriative painting. The paintings presented with the written thesis document a series of jackets and creatively explore the jacket form and related imagery. The study uses a number of interrelated critical perspectives to explore the meaning and significance of the jackets. Intertextual approaches explore the relationship of the jackets to other cultural forms. David Muggleton’s ‘distinctive individuality’ and Sarah Thornton’s ‘subcultural capital’ are used to emphasise the importance of jacket making practices for expressions of personal and corporate subcultural identity. Italo Calvino’s use of postmodern semiotic structures gives a tool for placing battle jacket practice within a shifting network of meanings, whilst Richard Sennett’s‘material consciousness’ helps to understand the importance of DIY making practices used by fans. The project refers extensively to a series of interviews conducted with battle jacket makers between 2014 and 2016. Recent art historical studies of still life painting have used a materialist critique of historic works to demonstrate the uniqueness of painting as a method of analysis. The context for my practice involves historical references such as seventeenth century Dutch still life painting. The work of contemporary artists who are exploring the themes and imagery of extreme metal music is also reviewed

On portraiture = o retrato : teoria, prática e ficção : de Francisco de Holanda a Susan Sontag

O colóquio pretende discutir a teoria e a prática da experiência artística, histórica, antropológica, social e política do retrato, bem como a dimensão ficcional que elas comportam. Situada no cruzamento de várias áreas disciplinares, a discussão aborda o retrato enquanto conceito, tema, processo, objeto (monumento e documento) e dispositivo, nos seus múltiplos desdobramentos e nas suas sucessivas atualizações conceptuais, tecnológicas e contextuais. Mais do que definir um enquadramento temporal, o subtítulo — de Francisco de Holanda a Susan Sontag — indica a porosidade dinâmica do tema investigado nos domínios da arte e da literatura e da sua mútua reversibilidade.info:eu-repo/semantics/publishedVersio