The use of supernatural beings in four of Shakespeare’s plays – A Midsummer Night’s Dream, Romeo and Juliet, Macbeth, and The Tempest – is examined in order to show the change in Shakespeare’s thinking about magic, and how the mortal and supernatural can co-exist. The shift from properly controlled benevolent female power, to out-of-control malevolent female power, to the eradication of female power and triumph of the male magus is examined; the ideal co-existence of the human and supernatural worlds is assessed.

William Shakespeare’s Macbeth is colored with religious overtones. His play incorporates elements of religious beliefs of Renaissance England. Aside from its historical basis, Shakespeare’s Macbeth alludes to stories from Scripture as well as Renaissance religious practices and beliefs, particularly regarding witchcraft, prophecy, and the dangers of sin. Through this myriad of sources, Shakespeare offers a vivid and grotesque depiction of a man demise due to his involvement with sin, offering a profound caution to his audience of the dangers of temptation and sin.

In offering readings of Shakespeare’s tragic women on film, this thesis explores bodies that are caught between signifiers of absence and presence: the woman’s body that is present with absent body parts; the woman’s body that is spoken about or alluded to when absent from view; the woman’s living body that appears as a corpse; the woman’s body that must be exposed and concealed from sight. These are bodies that appear on the borderline of meaning, that open up a marginal or liminal space of investigation. In concentrating on a state of ‘betweenness’, I am seeking to offer new interpretive possibilities for bodies that have become the site of much critical anxiety, and bodies that, due to their own peculiar liminality, have so far been critically ignored. In reading Shakespeare’s tragic women on film, I am interested specifically in screen representations of Gertrude’s sexualised body that is both absent and present in Shakespeare’s Hamlet; Desdemona’s (un)chaste body that is both exposed and concealed in film adaptations of Othello; Juliet’s ‘living corpse’ that represents life and death in Shakespeare’s Romeo and Juliet; the woman’s naked body in Roman Polanski’s Macbeth (1971) that is absent from Shakespeare’s play-text; and Lavinia’s violated, dismembered body in Julie Taymor’s (Titus, 1999) and Titus Andronicus, which, in signifying both life and death, wholeness and fragmentation, absence and presence, something and nothing, embodies many of the paradoxes explored within this thesis. Through readings that demonstrate a combined interest in Shakespeare’s plays, Shakespeare films, and Shakespeare criticism, this thesis brings these liminal bodies into focus, revealing how an understanding of their ‘absent presence’ can affect our responses as spectators of Shakespeare’s tragedies on film.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Investors have historically demanded a return premium for taking on the risk of illiquidity both in terms of characteristic and systematic liquidity risk. Recent research have presented results suggesting that the liquidity premium is diminishing. The increasing popularity of passive investments such as Exchange Traded Funds (ETFs) have been proposed as a driving force for the declining trend. Despite the popularity of ETFs, there is limited research how they impact the financial markets. The purpose of this thesis is to investigate how the liquidity premium has developed in the United States between 1997 and 2016 and to explore if developments in the liquidity premium can be linked to the capital inflow to the United States ETF market. The thesis uses measures of stocks’ spreads and order book depths as proxies for the characteristic and systematic liquidities. The proxies are used to test if liquidity has influenced stock returns over 1-year, 5-years and the entire 20-year period. The empirical results obtained through Fama-MacBeth regressions show that the liquidity premium can fluctuate by both sign and magnitude year by year. The characteristic risk premium is negative and significant for the entire 20-year period and the 1-year regressions suggests a clear negative trend. The systematic liquidity premium on the other hand is positive and significant for the entire 20-year period but the 1-year regressions do not show a clear trend. The empirical results show no statistical significance that ETFs influence the liquidity premium. However, the graphical interpretation of the 1-year regressions suggests that the characteristic liquidity premium is negatively correlated with the growth of ETFs. The negative characteristic premium implies that investors are not being adequately compensated for the risk of illiquidity and should therefore avoid a liquidity-based investing strategy which has generated excess return in the past.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2014. / Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2014-10-10T18:02:50Z No. of bitstreams: 1 2014_StephanieWinkler.pdf: 733152 bytes, checksum: 4dc4c5d26511581e54478f75507f111c (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-10-13T13:43:00Z (GMT) No. of bitstreams: 1 2014_StephanieWinkler.pdf: 733152 bytes, checksum: 4dc4c5d26511581e54478f75507f111c (MD5) / Made available in DSpace on 2014-10-13T13:43:00Z (GMT). No. of bitstreams: 1 2014_StephanieWinkler.pdf: 733152 bytes, checksum: 4dc4c5d26511581e54478f75507f111c (MD5) / O objetivo deste trabalho é comparar duas personagens femininas: Lady MacBeth de Shakespeare e Lady MacBeth de Leskov. A partir de uma análise bakhtiniana, pretende-se mapear as diferenças entre essas Ladies. A primeira, do teatro, é uma personagem elevada, cuja ação desmedida é dotada de uma ambição que a levaria a superar sua condição de nobreza. Tudo isso, ligado a um entendimento da tragédia e do herói trágico a partir de princípios aristotélicos, clássicos e de sua releitura pelo dramaturgo inglês. A segunda, da prosa, é uma pessoa comum. Envolvida por uma narrativa cotidiana, sua ambição não-heróica, egoísta e violenta, a conduz a uma satisfação pessoal, afetiva e individualista. Além disso, há uma grande afinidade entre Leskov e Dostoiévski ao criar personagens no mundo literário com características humanas excepcionalmente realistas. Tudo isso, problematizado em consonância com a perspectiva benjaminiana em seu texto “O Narrador” – paradigma do tradutor brasileiro Paulo Bezerra. Tendo em vista que o foco de análise é justamente Leskov, ficam muito evidentes os elementos narrativos, orais e escritos, que respondem e estabelecem um dialogismo com Shakespeare e com a literatura e cultura russas do século XIX. ____________________________________________________________________________________ ABSTRACT / The main purpose of this thesis is to compare two feminine characters: Shakespeare's Lady Macbeth and Leskov's Lady Macbeth of Mtsensk. From a Bakhtin based analysis, the intention is to map out the differences between these two Ladies: the first one, from the theatre, is a distinguished character, whose extreme measures are blinded by the ambition of surpassing her condition of nobility - all of this linked to an understanding of tragedy and the tragic hero based on Aristotelic principals. The other lady is a commoner, written in an everyday narrative in prose. Her personal ambition is non-heroic at the same time that it is individualist and violent, an attitude that provides personal satisfaction. Also, there is great affinity between Leskov and Dostoyevsky in creating fictional characters that have exceptionally realistic human qualities. All these aspects will then be examined from Walter Benjamin's perspective in his text The Storyteller. Having in mind that the focus of this research is Leskov, the narrative, oral and written elements become quite evident because they respond and establish a dialogism with Shakespeare and Russian literature and culture of the XIX century.

The Federal Law No. 12.334 of 20 September 2010, established the National Policy on Dam Safety (NBSP), whose goal is to establish the baseline for evaluation and monitoring of the implementation of the policy, serving as a tool to analyze your effectiveness in reducing accidents and improving the safety management of Brazilian dams. The law defined a number of instruments, security management, making them mandatory thereafter. In compliance with art. 7 of the said Act, the National Water Resources Council established from the CNRH Resolution No. 143 (10 July 2012), the classification system by risk category and potential damage associated and vessel volume. According to this resolution, certain technical characteristics of the dam and the valley downstream, should be scored to classify dams according to the risk and potential damage associated. However, this work proposes a dam classification model in vulnerable categories, based on a multi-criteria decision support methodology - MCDA (MultiCriteria Decision Aid) which is characterized by adopting a constructivist approach. The multi-criteria method adopted is the MACBETH, implemented in computer readable M-MACBETH. / A Lei Federal n 12.334, de 20 de setembro de 2010, estabeleceu a PolÃtica Nacional de SeguranÃa de Barragens (PNSB), cujo objetivo à estabelecer a linha de base para avaliaÃÃo e acompanhamento da implementaÃÃo da referida polÃtica, servindo como ferramenta de anÃlise de sua efetividade na reduÃÃo de acidentes e na melhoria da gestÃo da seguranÃa das barragens brasileiras. A lei definiu uma sÃrie de instrumentos, de gestÃo da seguranÃa, tornando-os obrigatÃrios a partir de entÃo. Em atendimento ao art. 7 da referida Lei, o Conselho Nacional de Recursos HÃdricos estabeleceu, a partir da ResoluÃÃo CNRH N 143 (em 10 de julho de 2012), o sistema de classificaÃÃo por categoria de risco e de dano potencial associado e volume do reservatÃrio. De acordo com esta ResoluÃÃo, certas caracterÃsticas tÃcnicas da barragem e do vale à jusante, deverÃo ser pontuadas a fim de classificar as barragens em funÃÃo do risco e do dano potencial associado. Contudo, este trabalho, propÃe um modelo de classificaÃÃo de barragens em categorias de vulnerabilidade, baseado em uma metodologia multicritÃrio de apoio à decisÃo â MCDA (Multicriteria Decision Aid) que se caracteriza por adotar uma abordagem construtivista. O mÃtodo multicritÃrio adotado à o MACBETH, implementado no suporte informÃtico M-MACBETH.

Made available in DSpace on 2014-06-12T15:08:15Z (GMT). No. of bitstreams: 2 arquivo2721_1.pdf: 1803665 bytes, checksum: 121880ae166a52460ec92b371aea02c5 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2011 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A energia elétrica no Brasil possui grande relevância, devido à sua alta demanda nos diversos setores da sociedade, eminentemente na residência, no comércio e na indústria. Em 2004, o setor passou por uma enorme reformulação legal, alterando significativamente o seu aspecto regulatório. Este trabalho tem o objetivo de verificar a condição de equilíbrio de mercado acionário no setor elétrico pré e pós-regulamentação, a partir dos testes do Capital Asset Pricing Model (CAPM), embasados na metodologia dos autores Black, Jensen e Scholes (1972) e Fama MacBeth (1973). Os dados deste estudo foram coletados na base Economática, relativos a preços mensais das ações do setor, pontuação do Índice da Bolsa de Valores de São Paulo (IBOVESPA) e taxas mensais do Certificado de Depósito Interbancário (CDI). O tratamento estatístico foi realizado através de regressões lineares e cross sections, pelo método dos mínimos quadrados. Os resultados demonstraram, para todo o período de análise, linearidade decrescente na Security Market Line (SML), prêmio negativo de mercado; insuficiência do CDI para a explicação dos retornos e influência dos resíduos no modelo. No período pré-regulamentação constataram-se tendência de não-linearidade em alguns períodos e linearidade crescente em outros (prêmio positivo de mercado); aplicabilidade do CDI e do IBOVESPA e influência dos resíduos no modelo. Já no período pós-regulamentação verificaram-se linearidade decrescente com ineficiência do IBOVESPA no modelo; grande influência dos resíduos na explicação dos retornos e anormalidade na aplicabilidade do modelo no subperíodo 2002-2006

Made available in DSpace on 2014-06-12T15:51:43Z (GMT). No. of bitstreams: 1 license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2008 / Atualmente, gerentes de projeto estão constantemente procurando maneiras de entregar produtos de qualidade o mais rápido possível. De modo a desempenhar suas atividades, tais gerentes se vêem muitas vezes diante de situações conflitantes, que envolvem questões de médio e grande risco, cujas decisões, caso mal tomadas, podem atrasar o cronograma do projeto, levando-o muitas vezes ao fracasso. Por ser algo tão cotidiano, supõe-se que a tomada de uma decisão seja algo totalmente compreendido e conhecido. No entanto, não é o que acontece. O que se observa é uma ausência, na prática, de um processo formal de apoio à decisão em projetos de software, no sentido de torná-lo uma atividade estruturada na resolução de problemas não estruturados. Dessa forma, de modo a preencher tal espaço no contexto dos projetos de software, esta dissertação propõe o Decisius, um processo formal de apoio à decisão, que faz uso da Metodologia de Conferências de Decisão, Abordagem Multicritério de Apoio à Decisão, SODA (Strategic Options Development and Analysis) e MACBETH (Measuring Attractiveness by a Categorical Based Evaluation Technique). De modo a aplicar o Decisius na prática, verificou-se que, no âmbito da Engenharia de Software, a produtividade é determinada pela interação de muitos fatores, de modo que nenhum fator em especial é capaz de garantir a alta produtividade em um projeto de software. Apesar disso, a produtividade é medida de forma única, através da divisão entre a quantidade produzida pelo esforço necessário. Portanto, tornase necessário uma forma de medição da real produtividade de um projeto de software levando em consideração os fatores influenciadores para o aumento ou diminuição da mesma, através de uma abordagem multicritério. Dessa forma, o processo proposto foi utilizado para apoiar a decisão na definição de um modelo que possibilite a geração de um índice de produtividade que incorpore os fatores que influenciam no desenvolvimento de um projeto de software

The thesis is an attempt to understand tragic guilt. My starting point is a comparison of Sophocles' Oedipus at Colonus with Shakespeare's Macbeth. The question of "guilt" is treated very differently in these two plays. Oedipus' guilt is a result of an action which is discovered, not chosen. He is the victim of a curse which lies upon his family and thus his own guilt is an ambiguous thing. He suffers against a background of a Law which demands punishment and a promise from a god that he shall be "saved". Oedipus at Colonus begins, as does Oedipus Rex, after the decisive act of murder and incest has been committed. But Macbeth begins before anything has been done; Macbeth is presented with a possibility and he chooses to believe that he can make it a reality. We are allowed to see the moment at which guilt appears in the individual. Macbeth becomes guilty before the very image of himself murdering Duncan. In Greek tragedy the guilt is often blood-guilt, a curse which descends from one member of a family to another and may devastate an entire house. But in Macbeth the guilt begins in the desires of one man. Macbeth is left with a personal despair which is different from the suffering that Oedipus undergoes. In the novels of Thomas Hardy, the perspective on guilt has shifted from the privacy that surrounds Macbeth at his death to the social world of nineteenth century England. Michael Henchard is perhaps closest to Macbeth in that he is destroyed more by the forces in his own personality than by the pressures of external society. But with Tess we have a heroine who is "pure", a woman who is defeated more as a result of the failings in a society than by any personal faults. There is little feeling of her having any particular "guilt". Jude Fawley's particular "tragedy" also must be seen in terms of the society that moves around him, its laws and conventions. The guilt is never entirely his own, nor is he simply an innocent victim. The presence of a definite society is hardly felt at all in the two novels of Conrad. Jim is a "romantic", a young man barely past adolescence who is obsessed with a concept of honour which he feels he has betrayed in a moment of cowardice. But he seems to become guilty in a deeper sense because of this obsession; he betrays others by choosing to live in an imaginary world of romantic achievement. Nostromo is also obsessed with a dream: to be a Man of the People. If Conrad's characters become guilty, it is because of their intense egoism, their inability to escape their passion for an idea. In Arthur Miller's The Crucible the guilt of an individual seems less important than the guilt present in a society. That guilt is an illusion based on a fear of not conforming to a rigorous law. We are left with the tragedy of a society which must find a victim to appease its own feeling of guilt. John Proctor is one of the chosen victims; a man who must die to save his integrity. But his death is the result of a web of guilt spread through an entire society. / Arts, Faculty of / English, Department of / Graduate