Abstract Background: ​The disposition effect is a well-documented effect in behavioral finance, first brought to light in 1985 by Shefrin and Statman. The effect is caused by investors valuating unrealized gains and losses differently which can be connected to concepts like the prospect theory, Tverksy and Kahneman (1979), and loss aversion Kahneman et al. (1991). To examine the existence of the disposition effect in Sweden, the authors of this thesis performed a study where the participants played a stock simulation game. Purpose: ​The purpose of this study is to examine whether the investor experience plays a crucial part in the mitigation of the disposition effect. Method: ​The study of this thesis is conducted by collecting primary data using a quantitative research strategy by utilizing a virtual trading game and a post-experiment survey. Following this, the data derived from this experiment is used to calculate the disposition effect by calculating the Proportion of Gains Realized and Proportion of Losses Realized of the participants. To fulfill the purpose, t-tests in the form of one-sample t-tests and independent samples t-test were used to determine if the results of our study were statistically significant. Furthermore, Spearman correlations were also implemented to test for correlations between subgroups and the disposition effect. Conclusion: ​Statistically significant results confirm that there was a disposition effect among the subject group at a 1% confidence level. While there was a difference in disposition effect between the experienced and inexperienced groups, the difference was not statistically significant which could be explained by a small sample size and a subjective measure of experience.

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Savons-nous ce qu’est le rire ? Sous la pratique ordinaire de portée infinitésimale, quels mécanismes et quels usages, quels affects et quels plaisirs, justifient l’éclairage des outils des sciences sociales ? Pour répondre à ces questions, ce projet de thèse prend appui sur une sociologie de la réception culturelle des arts comiques : il entreprend de comprendre le rire à la croisée du comique et du rieur. Deux types de matériaux sont utilisés et interprétés : le premier provient d’une enquête quantitative menée auprès de 210 enquêtés ; le second convoque 36 rieurs singuliers pour des entretiens approfondis. Dans les deux cas, les enquêtés appartiennent à toutes les classes sociales et cette diversité sociologique fait apparaître l’impossibilité d’attribuer au rire une signification sociale ou politique univoque. L’éclat du rire trouve alors son explication dans le temps long d’une biographie sociologique finement reconstituée. Adossé à ces deux terrains, ce travail met en regard des schèmes narratifs comiques, extraits des oeuvres culturelles dépouillées de leurs caractérisations littéraires ; et des types d’expériences sociales fondamentales vécues par les rieurs.Le rire fonctionne comme un signe qui vaut pour autre chose que lui-même : il manifeste la reconnaissance à pic d’expériences passées qui sont souvent liées aux grandes étapes initiatiques de l’existence sociale et qui ont pu demeurer dans le rieur sous la forme de dispositions à rire : l’apprentissage de la marche et de la bipédie ; l’intériorisation des grands savoir-faire civilisationnels ; l’affectation par les pouvoirs, qu’ils soient petits ou grands ; la formation politique des relations avec les autres ; etc. Par ailleurs, si le rire est bien un signe, il est inclus dans une communication de groupe : c’est un acte de catégorisation qui se greffe sur les fractures les plus fines du corps social et qui, en retour, contribue à les figer ou au contraire à les déstabiliser. Cette dimension pragmatique du rire invite à réévaluer la fonction de socialisation des oeuvres et le rôle majeur de la stéréotypie comique dans la compréhension du social par le rieur. Enfin, le rire n’est pas un affect unanimitaire, mécaniquement extorqué chez tous par le développement sans précédent des industries du divertissement : il faut également y voir une stratégie de positionnement culturel qui s’agence jusque dans le grain le plus fin de l’existence sociale et son caractère d’événementialité. / Do we know what laugh is ? Under the ordinary practice of infinitesimal range, what mechanisms and what uses, what affects and what pleasures, justify the lighting of the tools of social sciences ? To answer these questions, this PhD research takes support on a sociology of the cultural reception of comic arts : it undertakes to include the laugh at the crossroads of the comic arts and of the laughing person. Two types of materials are used and interpreted : the first one comes from a quantitative inquiry led to 210 respondents ; the second one calls 36 singular persons for deepened discussions. In both cases, the investigating belong to all social classes and this sociological diversity shows the impossibility of allocating in the laughter an univocal social or political signification. Then the burst of laughter finds its explanation in the long time of a painstaking sociology of socialization. Based on these two fields, this work compares the comic narrative schemas, shed from his literary features ; and the types of fundamental social experiments lived by the persons who laugh. The laughter is a sign which is worth for something else than itself : he demonstrates recognition sheer of past experiences which are often linked to big initiatory stages of social existence and that could reside in the laughing person in the form of dispositions to laugh : the learning of the walk ; the internalization of big civilisationnels know-how ; affectation by powers, small or big ; the development of political relations with others ; etc. Moreover, if the laughter is well a sign, he is included in a communication of group : it is an act of categorisation that comes along on top of the finest fractures of the society and that, in return, contributes to congeal them or on the contrary to destabilise them. This pragmatic dimension of the laughter invites to revalue the function of socialisation of writings and the major role of the comic stereotypy in the understanding of the social by the laughing person. Finally, the laughter is not an affect unanimous, mechanically extorted to all by the unsurpassed development of the industries of entertainment : it is also necessary to see for it a strategy of cultural distinction.

Cette recherche vise à élaborer une théorie de la pratique et une philosophie morale qui n’accorderaient aucune réalité à des possibles ou à des virtualités. Si l’inspiration bourdieusienne hante notre propos, c’est à partir de Spinoza que nous tentons dans un premier temps de construire un concept de disposition qui soit débarrassé de toute connotation indéterministe en référant les dispositions à des états de corps actuels et en clarifiant le sens de la notion, trop souvent confondue avec d’autres (aptitude, capacité, habitus). Nous montrons dans une deuxième partie que l’incorporation de l’extériorité dans des dispositions actuelles s’accompagne, conformément à la philosophie spinoziste, d’un effort nécessaire et déterminé pour accomplir aussitôt ce que l’agent est condamné à accomplir. La disposition désigne une puissance qui va au bout de ce qu’elle peut, abstraction faite de contrariétés internes ou externes. Si la puissance d’agir peut augmenter ou diminuer, l’effort ne peut être qu’aidé ou contrarié. L’agent est un automate, mais un automate qui s’efforce d’effectuer de gré et nécessairement ce qu’il est forcé d’effectuer, même s’il s’avère que c’est pour le pire. Cela nous conduit dans une troisième partie à contester les interprétations de la philosophie pratique spinoziste en terme d’aliénation. Nous montrons aussi que l’intellectualisme spinoziste doit être largement redéfini, la libération ne pouvant s’effectuer sans compter sur les « dispositions du dehors », y compris l’imagination d’un progrès possible. Enfin, si l’agent automate se signale par la grande inconstance de ses dispositions, il faut le disposer à agir dans un sens favorable à la raison. Le fonctionnement de l’État doit reposer sur la seule mécanique des institutions, puisqu’il est acquis qu’on ne peut vraiment compter sur personne. / This research aims at developing a theory of practice and a moral philosophy that leaves no place for what is merely possible and virtual. While inspired by the sociology of Bourdieu, I first draw on Spinoza to develop a concept of disposition that is freed of all indeterminist connotations by referring dispositions to actual states of the body so as to clarify the meaning of the term, which is so often confused with concepts such as aptitude, capacity, habitus. In the second part of this work, I show that the incorporation of the exteriority comes with the necessary effort to immediately accomplish what the agent is condemned to accomplish. « Disposition » refers to a power that sees through to the end what it can, notwithstanding internal and external impediments. If the power to act increases or diminishes, effort itself can only be helped or hindered. Thus, the agent is an automaton, but one that willingly strives to do what it is compelled to do, even if it is for the worst. Consequently, in the third part, I contest interpretations that relate human bondage in Spinoza’s ethics to alienation. I argue that Spinoza’s intellectualism must be redefined : emancipation cannot occur without relying on the dispositions we receive from the common order of Nature, including imagining possible progress. Finally, although the automaton is characterized by the inconstancy of his dispositions, he has to be disposed in a way that is favorable to reason. The workings of the state should rest solely on the mechanism of the institutions, as it has been established that we really cannot rely upon anyone.

Comment Déodat de Séverac élabore-t-il ses œuvres pianistiques ? L’enjeu de cette thèse est de comprendre et d’expliquer les manières singulières que ce compositeur a d’écrire pour le piano au prisme des diverses dispositions (c’est-à-dire des diverses tendances à agir, à penser, à sentir, etc.) forgées au sein des cadres de socialisations qu’il est amené à fréquenter au cours de sa trajectoire biographique. Afin de restituer le « faire » pianistique de Déodat de Séverac (ses dispositions, ses logiques pratiques, ses schèmes esthétiques, etc.) et ses éventuelles mutations au long de sa trajectoire, l’auteur articule trois opérations analytiques : la reconstruction des espaces sociaux et des cadres de socialisation successifs traversés par le compositeur tels que la sphère familiale, les cercles littéraires régionalistes et surtout les deux pôles antagonistes de l’avant-garde du champ musical français que sont la Schola Cantorum et la bande des « Apaches » ; l’analyse des actions et des discours du compositeur ; l’analyse musicale de l’ensemble de sa production pianistique. Cette enquête sociomusicologique repose ainsi sur un travail sur archives et sur l’exploitation de plusieurs types de sources, des divers écrits du compositeur – comme sa correspondance ou ses critiques musicales notamment – aux multiples traces musicales de ses œuvres – éditions originales des partitions, manuscrits ou esquisses – en passant par les nombreux indices de ses interactions avec ses contemporains – notamment les écrits sur Séverac et les lettres qui lui sont adressées. / How does Déodat de Séverac develop his piano works? This thesis purpose is to understand and explain the composer’s singular ways of writing for the piano through the various dispositions (that is to say the various tendencies to act, to think, to feel, etc.) forged within the frames of socialization he is led to frequent all along his trajectory. To restore the Déodat de Séverac’s “compositional doing” (his dispositions, his practical logics, his aesthetic schemes, etc.) and its possible transformations, the author articulates three analytical operations : a reconstruction of the successive frames of socialization crossed by the composer (such as the familial sphere, the regionalist literary circles, or the two opposing poles of the avant-garde of the French musical field that are the Schola Cantorum and the group of the “Apaches”) ; an analysis of the actions and the speeches of the composer ; an analysis of his whole piano production. This sociomusicological investigation is based on a work on archives and on an exploitation of several types of sources, from the writings of the composer – such as his correspondence or his music criticisms – to the various musical tracks of his works – original edited scores, manuscripts or sketches – via the numerous indications of his interactions with his contemporaries – particularly the writings on Séverac and the letters that are addressed to him.

The principle of party disposition and its restriction in civil proceedings Abstract in English The submitted diploma thesis deals with the principle of party disposition in civil proceedings which is a guiding principle of civil proceedings, however, it is heavily restricted in the Code of Civil Procedure. The main aim of this thesis is to emphasise the importance of the principle of party disposition in civil proceedings, identify the number of institutes which are restricted, deal with reasons of this restriction of the principle of party disposition, and propose possible changes, which would preserve the principle of party disposition completely. The first part of the thesis presents a theoretical definition of the principle of party disposition. It is also necessary to discuss other legal principles which are connected to the principle of party disposition because it never appears alone, as it is always accompanied by another general principle. This part of the thesis also focuses on the history of the principle of party disposition in civil proceedings. The crucial period for discussed principle was the first half of the 20th century because the disposition principle was not restricted at all. On the other hand, the second half of the 20th century represents a period of strict restrictions of the...

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

The main purpose in writing this work was therefore to analyze whether the trade secret belongs to assignable and transferable type of intangible asset law and whether it could be effectively protected. The author of this work has been himself asking questions: first of all what actually is trade secret? And is it possible transfer or cede it? And if it is possible is also possible to protect this intangible asset sufficiently in course of this transaction? The author came to conclusion that trade secret falls within the scope of intellectual property, same as patent, trademark, copyright, though trade secrets are more difficult to transfer and protect then other kinds of intellectual property while they are neither formalized nor well documented. And most of all they supposed to stay hidden forever. The property right in a trade secret is determined by the fact the owner protects its trade secret from disclosure to third parties. On the other hand in order for a valid transaction to take place trade secret must be first of all adequately identified. Above mentioned shall be taken into account while writing various types of contract that could be used for transferring of ceding of trade secrets i.e. license agreement, the contract on transfer of business share, contract for work, contract on lease...

Physiologically based pharmacokinetic (PBPK) modeling is a tool used in drug discovery and human health risk assessment. PBPK models are mathematical representations of the anatomy, physiology and biochemistry of an organism. PBPK models, using both compound and physiologic inputs, are used to predict a drug’s pharmacokinetics in various situations. Tissue to plasma partition coefficients (Kp), a key PBPK model input, define the steady state concentration differential between the tissue and plasma and are used to predict the volume of distribution. Experimental determination of these parameters once limited the development of PBPK models however in silico prediction methods were introduced to overcome this issue. The developed algorithms vary in input parameters and prediction accuracy and none are considered standard, warranting further research. Chapter 2 presents a newly developed Kp prediction algorithm that requires only readily available input parameters. Using a test dataset, this Kp prediction algorithm demonstrated good prediction accuracy and greater prediction accuracy than preexisting algorithms. Chapter 3 introduced a decision tree based Kp prediction method. In this novel approach, six previously published algorithms, including the one developed in Chapter 2, were utilized. The aim of the developed classifier was to identify the most accurate tissue-specific Kp prediction algorithm for a new drug. A dataset consisting of 122 drugs was used to train the classifier and identify the most accurate Kp prediction algorithm for a certain physico-chemical space. Three versions of tissue specific classifiers were developed and were dependent on the necessary inputs. The use of the classifier resulted in a better prediction accuracy as compared to the use of any single Kp prediction algorithm for all tissues; the current mode of use in PBPK model building. With built-in estimation equations for those input parameters not necessarily available, this Kp prediction tool will provide Kp prediction when only limited input parameters are available. The two presented innovative methods will improve tissue distribution prediction accuracy thus enhancing the confidence in PBPK modeling outputs.