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The purpose of this study was to determine whether, and how, electricity consumption by students in university residence halls were impacted through three intervention strategies.

The current investigation uses a quasi-experimental design by exposing freshman students in four matched residence halls and the use of three different interventions designed to encourage energy conservation, specifically electricity conservation. A control residence hall received no intervention. One residence hall had an energy dashboard prominently displayed. Another received various communications and programming designed to raise awareness of the need for energy conservation. A fourth residence hall had an energy dashboard and received programming. Electricity consumption among the residence halls was compared using multivariate analysis.

Students in all residence halls receiving interventions demonstrated significantly lower electricity consumption compared to the control residence hall. Across two years with different student populations, results were consistent: the residence hall receiving only the communications and programming, but not the dashboard, had the lowest electricity use. The residence hall with only the dashboard also demonstrated a significant but smaller decline in electricity use. Curiously, the residence hall wherein both interventions were used demonstrated the smallest decline in electricity use.

While total costs for the communications and programming are difficult to accurately assess, the results suggest that this approach is cost-effective when compared to the avoided cost of electricity and is superior in terms of electricity cost savings to both the dashboards and to the combined intervention. Results also suggest that any intervention is likely to induce a large enough electricity reduction to be cost-effective and there may be non-economic benefits as well.

This study takes advantage of the availability of four “matched” residence halls to approximate the rigor of a controlled quasi-experimental design to compare different strategies for inducing electricity consumption among freshman residents.

The purpose of this paper is to review research on litigation in corporate finance.

This paper surveys studies on the estimation of litigation risk, litigation costs, stock reaction to lawsuit announcement, and the effect of litigation on corporate financial policies and outcomes.

The first section presents a survey of studies that estimate litigation risk. The authors then discuss a set of studies that focus on the various costs associated with litigation. The third area of review is about studies which estimate the market reaction to a lawsuit announcement. The next section surveys studies that examine the relation between litigation and a variety of corporate policies, behaviors, and outcomes. The authors then discuss the emerging literature on how corporate political connections can influence the outcome of litigation. The survey concludes with a brief summary and a discussion of suggestions for future research involving corporate litigation.

By providing an extensive review of the literature on litigation in corporate finance, this survey can help researchers to identify recent trends in litigation research and select promising new avenues of investigation in the field.

The purpose of this paper is to present the formulation of the first exhaustive price index for Argentinian (and other Latin American countries) visual artists using 5,069 works sold in auctions by 71 Argentinian artists during the years 1980-2014.

The authors estimated a regression of hedonic prices using the ordinary least squares method. When the regression was run and the results were analysed, the authors then estimated the annual price index of Argentinian artists’ work to then compare them with different financial and economic variables.

The average annual nominal arithmetic rate of return in dollars for Argentinian art during this period was 6.81 per cent, with a 29.11 per cent standard deviation. Argentinian art shows a low correlation with Argentinian and US companies’ shares and a slightly negative correlation with US bonds. This is the reason for artworks to be included in investors’ portfolios despite the relatively high volatility.

Valuating works of art in Argentina can be explained by a series of their attributes. The benefits of art as an investment should be contrasted with factors including illiquidity and high transaction costs that are inherent when investing in works of art.

Argentinian artists’ works have higher prices when, ceteris paribus, they are dated; they are auctioned in either Christie’s, Sotheby’s, Galería Arroyo, Roldan & Cia, Meeting Art, or Naon & Cia; they are oil or acrylic paintings; they are larger in size – although the price increase is decreasing when the size of the painting increases; and when the artist dies before their work is auctioned.

This work presents the first rigorous price index of Argentinian artists’ works. Additionally, and as far as the authors have been able to observe, the time-period in this article is the longest that has been used in studies on art as an investment in emerging markets.

Este trabajo presenta la elaboración del primer índice exhaustivo de precios de artistas plásticos de Argentina (y de cualquier otro país de Latino América) a partir de 5.069 ventas de obras de 71 artistas argentinos realizadas en subastas durante el período 1980-2014.

Se estimó una regresión de precios hedónica por el Método de Mínimos Cuadrados Ordinarios. Una vez corrida la regresión y analizados sus resultados, se procedió a estimar el índice anual de precios de obras de artistas argentinos, para posteriormente relacionarlos con diversas variables financieras y económicas.

El rendimiento promedio aritmético nominal anual en dólares del arte argentino durante ese período fue de 6,81% con una desviación estándar de 29,11%. El arte argentino exhibe una baja correlación con las acciones de empresas argentinas y de EEUU y ligeramente negativa con bonos de EEUU, lo cual le confiere atributos para ser incluido en las carteras de los inversionistas, a pesar de la elevada volatilidad.

Se consigue que la valoración de arte en Argentina puede ser explicada por una serie de atributos de las obras de arte. Los beneficios del arte como inversión deben ser evaluados con la iliquidez y los elevados costos de transacción, entre otros costos, inherentes a la inversión en obras de arte.

Las obras de artistas argentinos tienen precios más altos cuando, ceteris paribus: están fechadas, se subastan en Christie's, en Sotheby's o en Galería Arroyo, son ejecutadas en óleo o en acrílico, tienen un mayor área, aunque el aumento de precio es decreciente al aumentar el área, y cuando el artista ya había fallecido al momento de celebrase la subasta.

Este trabajo propone el primer índice riguroso de precios de obras de artistas de Argentina. Además, y hasta donde hemos podido comprobar, el período utilizado en este trabajo es el más largo que se haya empleado en estudios del arte como inversión en mercados emergentes.

In this study, I explore the link between workforce downsizing and the predominance of a corporate governance model that espouses a shareholder value maximization principle. Specifically, I examine how top managers’ shareholder value orientation affects the adoption of a downsizing strategy among large, publicly traded corporations in the United States. An analysis of CEOs’ letters to shareholders indicates that firms with CEOs who use language that espouses the shareholder value principle tend to have a higher rate of layoffs, after controlling for various indicators of the firm’s adherence to the shareholder value principle. The finding suggests that corporate governance models, particularly those advocated by powerful organizational elites, have a significant impact on workers by shaping corporate strategies toward the workforce. The key actors in this process were top managers who embraced the new management ideology and implemented corporate strategy to pursue shareholder value maximization.

Poets House, a poetry special collection in New York, hosts an annual exhibit of the preceding year's poetry publications in the USA. This paper aims to offer a selection of recommended titles that reflect the range of poetry titles including single‐author works, anthologies, and prose about poetry.

The paper researched and requested donations of 2010‐2011 poetry titles from US poetry publishers to assemble and display a comprehensive collection of poetry publications, from which a selection of 50 titles was made. The selections should appeal to a range of poetry readers, from novices and students to poets looking to access the latest work from their peers.

Over 2,500 poetry titles were published and/or available to readers in the USA between June 2010 and June 2011. These titles range from mainstream publishers to independent presses to artists' collectives publishing works from established poets as well as emerging and international poets.

Without a budget for collection development, the exhibit and resulting titles represent those which publishers have opted to donate to the library. Every effort is made to be all‐inclusive, with the understanding that publishers may send only a selection of their list. The selected titles herein are based on the titles received for the exhibition.

For 19 years Poets House's annual Showcase has been the main collection‐development tool. Publishers donate copies of their titles, which are arranged by publisher for a month‐long exhibition. This approach enriches the poetry special collection, a unique poetry library built on community participation. The all‐inclusive collection‐development approach results in a full representation of poetry publishing.

A selection made from a comprehensive collection of the year's poetry titles offers a sample of poetry publishing from large to small presses and the self‐published in the USA.

In the 1970s, a materialist-feminist academy coalesced around the project to isolate and theorize the links between housework – chores women undertake for their households – and women's inequality across all their labor processes. This paper revisits the domestic labor debate at a time when there has never been more tension between women's work in social production and capitalist production. Based on fieldwork conducted in the northern Morelos highland community of Tepoztlán between 1993 and 1998, I disaggregate the performance of domestic labor in Tepoztlán in the time of globalization from a gendered labor process standpoint.