A primary issue in the field of business and society over the past 25 years has been the relationship between corporate social performance and corporate financial performance. Recently, Griffin and Mahon (1997) presented a table categorizing studies that have investigated this relationship. Motivated by concerns with this table, as well as a desire to account for progress in research in this area, the authors reconstructed it. The authors present a portrait of this relationship that is (a) substantially different from (...) that shown in the Griffin and Mahon table and (b) more consistent with the latest research on the topic. (shrink)

Anthropologists have defined iconatrophy as a process by which oral traditions originate as explanations for objects that, through the passage of time, have ceased to make sense to their viewers. One form of iconatrophy involves the misinterpretation of statues' identities, iconography, or locations. Stories that ultimately derive from such misunderstandings of statues are Monument-Novellen, a term coined by Herodotean studies. Applying the concept of iconatrophy to Greek sculpture of the Archaic and Classical periods yields three possible examples in which statues (...) standing in Greek sanctuaries may have inspired stories cited by authors of the Roman imperial period as explanations for the statues' identities, attributes, poses, or locations. The statues in question are the portrait of the athletic victor Milo of Croton at Olympia, a bronze lioness on the Athenian Acropolis identified as a memorial to the Athenian prostitute Leaina , and the Athena Hygieia near the Propylaia of Mnesikles. Inscriptions on the bases of Archaic and Classical statues in Greek sanctuaries typically named the dedicator, the recipient deity, and the sculptor, but did not include the subject represented or the historical occasion behind the dedication. These “gaps” left by votive inscriptions would only have encouraged the formation of iconatrophic oral traditions such as the examples examined in this article. (shrink)

The Roman Marble Sculptures from the Sanctuary of Pan at Caesarea Philippi/Panias. By Elise A. Friedland. American Schools of Oriental Research Archaeological Reports, vol. 17. Boston: American Schools of Oriental Research, 2012. Pp. xiii + 186, illus. $89.95. [Distributed by ISD, Bristol, Conn.].

The originals of great classical Greek statuary—cult idols (agalmata) raised in the cella of a temple, or ex-voto (anathemata, offerings) dedicated in a sanctuary, or even, more rarely, political dedications erected in public places, were not destined to be copied and only the pure chance of history, from the fall of Greece to Rome and the emergence of a taste for these works of art, gave rise to a process of copying that would snowball. The Urbild of a Roman (...) imperial effigy was never to remain unique. Quite the contrary, it was, by its very nature, destined to be multiplied from the moment of its completion, for the sake of propaganda and thorough distribution of the emperor's image. At first, we cannot imagine a situation more different. However, today, the historical value of these copies is the same, the original having disappeared in one case as in the other. This is not the only paradox. (shrink)

The originals of great classical Greek statuary—cult idols (agalmata) raised in the cella of a temple, or ex-voto (anathemata, offerings) dedicated in a sanctuary, or even, more rarely, political dedications erected in public places, were not destined to be copied and only the pure chance of history, from the fall of Greece to Rome and the emergence of a taste for these works of art, gave rise to a process of copying that would snowball. The Urbild of a Roman (...) imperial effigy was never to remain unique. Quite the contrary, it was, by its very nature, destined to be multiplied from the moment of its completion, for the sake of propaganda and thorough distribution of the emperor's image. At first, we cannot imagine a situation more different. However, today, the historical value of these copies is the same, the original having disappeared in one case as in the other. This is not the only paradox. (shrink)

Inevitável para um mais amplo conhecimento das práticas artísticas setecentistas, analisar a influência exercida pela pintura na concretização de objectos escultóricos afigura-se da maior pertinência. Áreas que se relacionam por via do papel desempenhado pelos pintores no desenho de escultura, se, no panorama internacional, o fenómeno tem despertado algum interesse, já no contexto português, apesar de aceite e até referido como corrente, tem sido praticamente ignorado.

The originals of great classical Greek statuary—cult idols (agalmata) raised in the cella of a temple, or ex-voto (anathemata, offerings) dedicated in a sanctuary, or even, more rarely, political dedications erected in public places, were not destined to be copied and only the pure chance of history, from the fall of Greece to Rome and the emergence of a taste for these works of art, gave rise to a process of copying that would snowball. The Urbild of a Roman (...) imperial effigy was never to remain unique. Quite the contrary, it was, by its very nature, destined to be multiplied from the moment of its completion, for the sake of propaganda and thorough distribution of the emperor's image. At first, we cannot imagine a situation more different. However, today, the historical value of these copies is the same, the original having disappeared in one case as in the other. This is not the only paradox. (shrink)

Cynthia Freeland’s investigation of four kinds of ‘fidelity’ in portraiture is cut across by more general philosophical concerns. One is about what might be called the expression of persons--the persons or ‘inner selves’ of portrait subjects and of portrait artist: whether either is possible across each of the four kinds of fidelity, and whether these two kinds of expression are in tension. More fundamental is the problem of telling how self-expression is at all possible in any of these (...) forms. Finally, she wonders how photography affects all these questions. This comment addresses portraiture not so much in terms of the four fidelities, but with another quartet of concepts: four ordinary types of ‘display’, in terms of which we see how artists’ self-expression is possible in all these forms, also including photography. Its key idea is that portraits are displays simply by being pictures or sculptures, which are kinds of artifacts, hence things that we perceive as having intentional affordance: that is, as being intentionally made ‘for’ something. (shrink)

Name der Zeitschrift: Klio Jahrgang: 99 Heft: 2 Seiten: 757-762.

La tête A 148 du Musée de Ténos, trouvée à Kionia, site du sanctuaire de Poséidon et d'Amphitrite, a été identifiée, au début du siècle, comme un portrait de Domitia. Ce portrait représente en réalité Agrippine l'ancienne, comme le montre la comparaison avec les répliques déjà connues du même type, dit « du Capitole ». La tête de Ténos, qui date du règne de Claude, se rattache au courant classicisant de la sculpture impériale de Grèce propre.