Órgãos de governo da família empresária Governing bodies of family business

RESUMO A importância das empresas familiares nas economias modernas exige que sejam melhor conhecidos os processos de tomada de decisão nas mesmas, nomeadamente, aqueles que têm origem no seio das famílias que as detêm ou controlam. A separação do património da família e do património afecto ao negócio é uma condição necessária para um bom relacionamento entre estes dois subsistemas. À semelhança dos órgãos de administração da empresa familiar também a família empresária tem os seus órgãos de governo: reunião de família, assembleia de família, conselho familiar, comissões familiares ad-hoc, protocolo familiar e family office. São estes órgãos que vão ser apresentados. ABSTRACT The importance that family firms have in today’s economy requires that one understands the decision making process in these types of firms, particularly the decision making process that stem from within the family circle that controls the firm. In order to understand these processes and the relationship between the two “subsystems of decision-making” one must separate the family’s resources from the family’s resources that has been engaged in the business. The family businesses, likewise the family firm, also have its own bodies of administration, such as family assemblies, family councils, family commissions and meetings, family’ protocols, as well as family office.

Somewhere near reality: artistic portrayal of violence in post WWII British realistic drama

ABSTRACT - I will explore and present the portrayal of violence in some British plays that were staged between 1951 and 1965, in order to discuss the role, impact and aim of its representation. Thus, I will consider John Whiting’s Saint’s Day (1951), Ann Jelicoe’s The Sport of my Mad Mother (1956), Arnold Wesker (Chicken Soup with Barley (1958), Harold Pinter’s Birthday Party (1958), David Rudkin’s Afore Night Come (1962) and Edward Bond’s Saved (1965). My aim is to discuss the way how theatre in the post WWII changed the traditional ways of representing violence. On one hand, violence and reality became more and more familiar and domestic, permitting a representation of multiple and non-agonic violence; and, on the other hand, the violence that was depicted often changed the way one perceived reality itself, being part of a socially engaged artistic attitude.