Owners, traders and providers of capital: the multiple faces of institutional investors

We draw on a series of in-depth interviews with senior fund managers and senior company executives to explore how different and often-contradictory conceptualizations of institutional investors, their role in the corporate governance process, and their interactions with corporate management, are reflected in the attitudes and perceptions of the actors concerned. We find that while conceptualizations in terms of agency and ownership dominate both academic and popular discourses, the actors conceptualize institutional investors more as financial traders and, from the management perspective, politically powerful resource providers.corporate governance, institutional investors, power, resource dependence,shareholder value.

The corporate-fund manager interface: objectives, information and valuation

Fund managers are the primary investment decision-makers in the stock market, and corporate executives are their primary sources of information. Meetings between the two are therefore central to stock market investment decisions but are surprisingly under-researched. There is little in the academic literature concerning their aims, content and outcomes. We report findings from interview research conducted with chief financial officers (CFOs) and investor relations managers from FTSE 100 companies and with chief investment officers (CIOs) and fund managers (FMs) from large institutional investors. Of particular interest we note that FMs place great reliance on discounted cash flow valuation models (despite informational asymmetry in favour of CFOs). This leads the former to seek to control encounters with the latter and to place great store on the clarity and consistency of corporate messages, ultimately relying on them for purposes other than estimating fundamental value. We consider some of the consequences of this usage.valuation, institutional shareholders, investor relations

La sombra sobre Galicia: las obsesiones de H. P. Lovecraft resurgen en la adaptación cinematográfica de Dagon (2001).

With the cinematic adaptation of H.P. Lovecraft’s tale The Shadow Over Innsmouth (1931) under the title of Dagon (Stuart Gordon, 2001), many ideological issues which have haunted scholarly appreciation of his literary work have been brought out under a new light. The setting of the film in the Galician coast of Spain, from which many immigrants crossed the ocean towards America, provides a further reading to the hardly concealed xenophobia underlying this and many other tales. Hybridity, linguistic plurality, sexual taboo and other controversial features are updated far more explicitly on screen, proving that Lovecraft’s extremist perspective is not a thing of the past. Al adaptar al cine el relato de H.P. Lovecraft La sombra sobre Innsmouth (1931) con el título de Dagon (2001), Stuart Gordon genera nuevas posibilidades de interpretación del texto original al transferir la acción a España, concretamente al pueblo ficticio de Imboca (obvia derivación del original inglés) en la costa gallega. Una decisión puramente comercial activa diversas cargas semánticas subyacentes tradicionalmente adscritas a la obra del autor y vinculadas a su firme rechazo a la emigración hacia Estados Unidos. Estereotipos nacionales, hibridación, xenofobia y otros aspectos controvertidos vinculados a la localización de la película confirman que el extremismo político de Lovecraft sobrevive al cambio de siglo

Carbohydrate gel ingestion significantly improves the intermittent endurance capacity, but not sprint performance, of adolescent team games players during a simulated team games protocol

The aim of this study was to investigate the influence of ingesting a carbohydrate (CHO) gel on the intermittent endurance capacity and sprint performance of adolescent team games players. Eleven participants [mean age 13.5 ± 0.7 years, height 1.72 ± 0.08 m, body mass (BM) 62.1 ± 9.4 kg] performed two trials separated by 3–7 days. In each trial, they completed four 15 min periods of part A of the Loughborough Intermittent Shuttle Test (LIST), followed by an intermittent run to exhaustion (part B). In the 5 min pre-exercise, participants consumed 0.818 mL kg−1 BM of a CHO or a non-CHO placebo gel, and a further 0.327 mL kg−1 BM every 15 min during part A of the LIST (38.0 ± 5.5 g CHO h−1 in the CHO trial). Intermittent endurance capacity was increased by 21.1% during part B when the CHO gel was ingested (4.6 ± 2.0 vs. 3.8 ± 2.4 min, P < 0.05, r = 0.67), with distance covered in part B significantly greater in the CHO trial (787 ± 319 vs. 669 ± 424 m, P < 0.05, r = 0.57). Gel ingestion did not significantly influence mean 15 m sprint time (P = 0.34), peak sprint time (P = 0.81), or heart rate (P = 0.66). Ingestion of a CHO gel significantly increases the intermittent endurance capacity of adolescent team games players during a simulated team games protocol

Un forastero en el salón: alteración léxica en la traducción al inglés para el doblaje de Euro-Westerns

Within the current context of a surge of foreign audiovisual content dubbed into English, the purpose of this article is to analyze how, half a century earlier, a dubbese developed in the translation of Euro-Westerns into English, resulting in a disruption of the established lexis of American Westerns. In order to analyze the root of this phenomenon, a corpus of fifteen American Westerns and their translations for dubbing into Spanish was compiled to understand how the Spanish distinctive lexis of the genre developed between the 1940s and 60s. Then, another parallel corpus of fifteen Euro-Westerns from the 60s and 70s with Spanish scripts and their English translations for dubbing was collected to explore whether the artificially created Spanish dubbese had any linguistic effect by means of its translation into English upon the canonical lexis of American Westerns. Finally, a comparable corpus is derived from the two previous corpora and analyzed. The results show that several distinctive lexical elements used in the corpus of American Westerns were replaced in the Euro-Westerns dubbed into English by terms never used in the original genre due to the influence of foreign scriptwriters. Thus, dubbese can be found in both cultural contexts. At first it was developed in dubbed American Westerns and, eventually, to a lesser degree, in dubbed Euro-Westerns.En el contexto actual de auge de contenido audiovisual extranjero doblado al inglés, este artículo se propone analizar cómo, hace medio siglo, se desarrolló un dubbese o transferencia léxica en la traducción de eurowesterns al inglés que introdujo cambios en el léxico establecido en los westerns estadounidenses. Con el fin de analizar la raíz de este fenómeno, se recopiló un corpus de quince westerns estadounidenses y sus traducciones para el doblaje al español entre los años 40 y 60. Posteriormente, se reunió otro corpus paralelo de quince eurowesterns de los 60 y los 70 con los guiones en español y sus traducciones para el doblaje al inglés con el fin de explorar si el dubbese creado artificialmente en español tenía algún efecto lingüístico por medio de su traducción al inglés en el léxico canónico de los westerns estadounidenses. Finalmente, se generó un corpus comparable a partir de los dos corpus anteriores y se analizó. Los resultados muestran una sustitución de varios elementos léxicos distintivos del corpus de los westerns estadounidenses en el doblaje de los eurowesterns al inglés por términos que nunca antes se habían usado en el género original, lo que se atribuye a la influencia de guionistas extranjeros. Así, puede hallarse dubbese en ambos contextos culturales. Al comienzo, se desarrolló en los westerns estadounidenses doblados al español y eventualmente, en menor grado, en los eurowesterns doblados al inglés

The Elizabethan and Jacobean two-part play: a study of the composition and structure of dramatic sequels

This thesis dexamines for the first time the origin and development of the multi-part play in English between the years 1587 and 1630. After Tamburlaine, dramatic sequels become a regular feature of the professional theatre, and figure significantly in the early careers of Shakespeare and Marston as well as that of Marlowe. More than one hundred separate plays, extant and lost, are considered for evidence of composition, performance, publication, and literary and theatrical relationship. The plays are grouped according to genre, but at the same time a continuing chronological development is revealed. Many of the multi-part plays were unanticipated by the author, sequels appearing in response to popular success; others, especially among the Histories, were deliberately conceived in two or more parts. Nevertheless, in both categories, verbal and structural cross-references exist which can indicate intellectual consistency even where the original circumstances of performance made this difficult to perceive. From the general considerations, some specific conclusions emerge: many of the problems of 1 Henry VI are explained with reference to other planned sequences influenced by Tamburlaine; Munday's Huntington plays are shown to have an ingenious design in an extended rehearsal framework; new reasons are given for the derivation of 1 Hieronimo from an earlier sequel to Kyd's revenge tragedy; the structure of Chapman's Byron plays yields new evidence of their textual history; and Dekker's 2 The Honest Whore is profitably discussed in relation to Shakespeare's treatment of Hal in 2 Henry IV. In an essay comparing the composition and structure of sequels, it is suggested that they have an unrecognized significance to the growth and achievement of English Renaissance drama

The relationship of Jeremiah to the Deuteromonic reform

Thesis (M.A.)--Boston University, 1941. This item was digitized by the Internet Archive