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Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Taking Shareholders\u27 Social Preferences Seriously: Confronting a New Agency Problem
Full text linkOliver Hart, Nobel Laureate in Economics for 2016, and economist Luigi Zingales recently published an article justifying companies’ pursuit of social objectives at the expense of profits from within the shareholder primacy framework. This Article highlights an important consequence of this approach: a new agency problem between managers and shareholders regarding social preferences. This Article provides two possible solutions to this agency problem: a bottom-up solution focused on shareholders’ ability to submit proposals on such issues and a top-down solution based on an independent board sub- committee intended to identify social objectives and forward them for shareholder approval
Missing Inaction: Internalizing Beneficial Omissions
No full textAre beneficial omissions treated the same as beneficial commissions of the same magnitude? Does it actually matter? In this Article I argue that while scholarship has paid attention to the omission bias in the context of harms (i.e., the discounting of harms caused by omissions relative to harms caused by commissions), it has not considered the omission bias in the context of benefits (i.e., the discounting of benefits caused by omissions relative to benefits caused by commissions). This Article argues not only that we should recognize beneficial omissions, but also that policymakers should pay more attention to beneficial omissions than to either beneficial or harmful commissions
Missing Inaction: Internalizing Beneficial Omissions
No full textAre beneficial omissions treated the same as beneficial commissions of the same magnitude? Does it actually matter?
In this Article I argue that while scholarship has paid attention to the omission bias in the context of harms (i.e., the discounting of harms caused by omissions relative to harms caused by commissions), it has not considered the omission bias in the context of benefits (i.e., the discounting of benefits caused by omissions relative to benefits caused by commissions). This Article argues not only that we should recognize beneficial omissions, but also that policymakers should pay more attention to beneficial omissions than to either beneficial or harmful commissions
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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