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Although career proactivity has positive consequences for an individual's career success, studies mostly examine objective measures of success within single countries.This raises important questions about whether proactivity is equally beneficial for different aspects of subjective career success, and the extent to which these benefits extend across cultures. Drawing on Social Information Processing theory, we examined the relationship between proactive career behaviors and two aspects of subjective career success-financial success and work-life balance-and the moderating role of national culture. We tested our hypotheses using multilevel analyses on a largescale sample of 11,892 employees from 22 countries covering nine of GLOBE's 10 cultural clusters. Although we found that proactive career behaviors were positively related to subjective financial success, this relationship was not significant for worklife balance. Furthermore, career proactivity was relatively more important for subjective financial success in cultures with high in-group collectivism, high power distance, and low uncertainty avoidance. For work-life balance, career proactivity was relatively more important in cultures characterized by high in-group collectivism and humane orientation. Our findings underline the need to treat subjective career success as a multidimensional construct and highlight the complex role of national culture in shaping the outcomes of career proactivity. KEYWORDS career self-management, career success, national culture, proactive career behaviors * These 12 authors contributed equally to the article. † The quantitative part of this research endeavor has taken a number of years from conceptualization through to implementation. During this time, we have tried to ensure that we gained the maximum possible through this multiauthor approach while maintaining the integrity of our research. Many of the authors were involved in conceptualizing the research at face-to-face meetings held twice a year for this purpose during 2007-2014. All of the authors were involved in data collection in some capacity in their representative countries. All of the 12 main authors and many of the authors in the 5C collaborative were then involved in the subsequent initial analysis and interpretation of the data in similar biannual meetings held during 2014-2018. In between each of the whole-collaborative meetings, the 12 main authors took the group's inputs away to work on them in meetings held face-to-face, via email and Skype. The original text was drafted and revised among the 12 first-named authors before inviting critical input and revisions from the other 34 authors. The final text emerged from the input received from the collaborative, and all authors have signed off on the submission. This submitted version of the paper thus reflects the input and views of all 46 authors, and all are prepared to be accountable for its content. This process was repeated during the revision and resubmission stage. The large number of authors has facilitated ...

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This article presents an empirical study that uses a sample of 83 small and medium‐size enterprises (SMEs) based in Northeast Italy. The study analyzes the impact of nonfamily management on the corporate governance structure. We employ an original framework, based on the New Theory of Property Rights, to analyze corporate governance models in SMEs. Moreover, this article offers a definition of flexibility of the corporate governance model. We also analyze the correspondence between corporate governance systems and organizational structures.

Drawing on the relational perspective of artistic innovation, which suggests that different types of ties (weak vs. strong) lead to different outcomes in terms of the development and implementation of new artistic ideas, this study uses an in-depth case study of Italian choreographer Mauro Bigonzetti to explore the role of the relational work artists deploy to develop and implement their artwork. We investigate how artists engage in specific relational actions (broadening, bonding, embedding and dis-embedding) with producing organizations, and how these actions lead to innovation over time. The findings suggest that artistic innovation moves through four stages – proximal innovation, fuzzy innovation, established innovation and maintained innovation – sustained by an artist’s oscillation between a network characterized by strong ties with few organizations and a network characterized by weak ties with many organizations, depending on the artist’s quests for inclusion and differentiation. In this process, a long-lasting relationship between the artist and a specific organization may ‘pivot’ artistic innovation