scholarly journals Political Instability and Firm Performance: A Microeconomic Evidence from Ivory Coast

2020 ◽  
Vol 12 (1) ◽  
pp. 49-55
Author(s):  
Ernest Ou�draogo ◽  
Ibrahim Ou�draogo ◽  
Emmanuel Lompo
Keyword(s):  
Firm Performance ◽  
Ivory Coast ◽  
Political Instability

Foreign Risk, Domestic Problem: Capital Allocation and Firm Performance Under Political Instability

2018 ◽  
Vol 64 (5) ◽  
pp. 2102-2125 ◽  
Author(s):  
Burcin Col ◽  
Art Durnev ◽  
Alexander Molchanov
Keyword(s):  
Firm Performance ◽  
Political Instability ◽  
Capital Allocation

Rubber Plants on the Ivory Coast

1910 ◽  
Vol 70 (1824supp) ◽  
pp. 391-391
Keyword(s):  
Ivory Coast

Does Diversity in The Boardroom Add Value to a Firm?

2018 ◽  
Vol 18 (5) ◽  
Keyword(s):  
Firm Performance ◽  
Panel Data ◽  
Firm Size ◽  
Significant Influence ◽  
Negative Influence ◽  
Positive Influence ◽  
Future Research ◽  
Board Composition ◽  
Board Diversity

This study examines whether board diversity affects firm performance. We investigate this study using panel data of a sample of S&P 500 firms during a 12 year period. After controlling for industry, firm size, and other board composition variables, we find that all three board diversity variables of interest – gender, ethnicity, and age have a significant influence on firm performance. While ethnicity and age have a positive influence on firm performance, it was found that gender has a negative influence. Implications for future research are discussed.

‘THE TOWN, THE TOWN, GOOD PIT, HAS ASSES EARS!’: Unstable Audiences in Della Cruscan Poetic Conversation

Romanticism ◽  
2020 ◽  
Vol 26 (3) ◽  
pp. 235-244
Author(s):  
Katie Holdway
Keyword(s):  
Political Instability ◽  
Mass Audience ◽  
The Town

In his famously disparaging poetic retorts to the poetry of the British Della Cruscan movement, the Baviad and Mæviad, Tory satirist William Gifford made every effort to separate the readers of Della Cruscan poetry into two distinct audiences: Della Cruscan ‘writer-readers’ who read and actively responded to pieces written by other members of the coterie with poetry of their own, and the non-participating mass audience. According to Gifford, this latter audience – metonymized as ‘the Town’ in the Baviad – ignorantly follows the whims of fashion, absorbing Della Cruscan poetry, but never actually responding to it. Through an analysis of both Della Cruscan poetry and Gifford's retorts, this essay aims to re-establish the links between these two kinds of audiences. I will argue that Gifford's attempts to suppress these links stemmed from a deep-seated fear – fuelled by post-Revolutionary political instability – that the Della Cruscan coterie offered a platform whereby members of the mass reading audience could join their poetic conversations pseudonymously, and ultimately be granted a voice, regardless of their gender or political affiliations.

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