This thesis consists of three essays on business cycle fluctuations that are based on the market-clearing dynamic general equilibrium framework. The first two essays examine the ultimate source of economic fluctuations in Thailand and Australia, respectively. The tool of study is the Business Cycle Accounting (BCA) method developed by Chari et al. (2002; 2007a). The third essay investigates the relation between capital-labour substitution and sectoral externalities in self-fulfilling expectation equilibria. It employs a two-sector competitive model proposed by Benhabib and Farmer (1996). The BCA method examines the transmission mechanisms of shocks within an economy. These transmission mechanisms are called wedges which are responsible for the deviation of aggregate variables from a competitive equilibrium. Four categories of wedges are defined in the BCA: 1) the efficiency wedge represents the input-financing frictions in production; 2) the labour wedge is the frictions between consumption leisure trade-off and marginal product of labour; 3) the investment wedge is the frictions between the intertemporal marginal rate of substitution in consumption and the marginal product of capital; and 4) the government consumption wedge indicates the frictions in international borrowing and lending. Chapter 2 applies the BCA method with deterministic wedges to examine the output variations in Thailand between 1971-2003. The efficiency wedge is found to be the most important driving force behind the output variations during episodes of boom and bust in Thailand over the studied period. In particular for the 1997 economic downturn, the evidence shows that the cost of credit intermediation for some firms was relatively high. This altered an acquisition of working capital and labour in these firms when compared to others, which likely caused inefficient reallocation of inputs across the economy. As such, the efficiency wedge appears to fall at aggregate level during the economic downturn. Chapter 3 applies the BCA method with stochastic wedges to examine the variations in output and investment in Australia. Although the efficiency wedge alone can account for these variations, it predicts much more volatility in output than the actual data. Upon allowing for the combination of efficiency and labour wedges, the model can replicate the amplitude of output variations better. The negative cross correlation between these two wedges suggests their interference. Chapter 4 examines the effect of capital-labour substitution on the existence of indeterminacy in two-sector models and check whether the corresponding returns to scale are still empirically plausible. The main finding is that a higher requirement of sectoral externalities for indeterminacy is needed when capital and labour are less substitutable. Intuitively, the low substitutability implies that capital and labour are complementary factors of production. This retards the mobility of factors between the consumption and investment sectors. In the belief driven equilibria, the consumers’ optimistic expectation on returns is fulfilled as long as the rate of returns is sufficiently high such that current consumption is given up for investment. The rate of returns hereby indicates sectoral externalities. In such a production environment, the minimum requirement of externalities for indeterminacy therefore becomes larger so that it can successfully break the tightly coupling factors within sector, and raises the production of investment goods effectively. As a result, the current relative price of investment goods falls. In the next period, consumers enjoy more consumption goods and the relative price of investment good rises. The ascending pricing sequence yields capital gains and the consumers’ belief is finally fulfilled. Based on the logarithmic utility in consumption and the elasticity of substitution of 0.5 as suggested in Klump et al. (2007) and Chirinko (2008), the minimum requirement of returns to scale for indeterminacy is 1.1236, and it still lies within the range in most empirical studies. / Thesis (Ph.D.) -- University of Adelaide, School of Economics, 2009

Linha de pesquisa: Estudos da Linguagem e Cultura. / Na Capa e Folha de Rosto da obra, consta o t?tulo: "Um lance de dados jamais abolir? o acaso: o poema de St?phane Mallarm? como uma proposta de constru??o de sentidos". / Submitted by Jos? Henrique Henrique (jose.neves@ufvjm.edu.br) on 2018-07-26T19:35:14Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) junia_jesus_santos.pdf: 960806 bytes, checksum: cba6e0e40c51344bbcf16758a6d7ffcb (MD5) / Approved for entry into archive by Rodrigo Martins Cruz (rodrigo.cruz@ufvjm.edu.br) on 2018-10-05T19:03:27Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) junia_jesus_santos.pdf: 960806 bytes, checksum: cba6e0e40c51344bbcf16758a6d7ffcb (MD5) / Made available in DSpace on 2018-10-05T19:03:27Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) junia_jesus_santos.pdf: 960806 bytes, checksum: cba6e0e40c51344bbcf16758a6d7ffcb (MD5) Previous issue date: 2018 / O presente trabalho consiste em uma discuss?o de tra?os composicionais do texto Um lance de dados jamais abolir? o acaso (Un coup de d?s jamais n?abolira le hasard), de St?phane Marlarme (1897), a partir da transcria??o de Haroldo de Campos (2015). Identificando sobretudo tra?os de indetermina??o, de estruturas v?rsicas n?o convencionais e de constru??es aleat?rias de imagens po?ticas, este trabalho visa ? caracteriza??o do poema mallarmeano como uma composi??o deliberadamente engenhada para possibilitar diversos caminhos de leitura e, por conseguinte, mult?vocas propostas de sentido. Dada a complexidade imposta pelo objeto de pesquisa, a discuss?o empreendida nesta disserta??o mobiliza um arcabou?o de pressupostos te?ricos que buscam circunscrever a inter-rela??o entre as inst?ncias da autoria, da leitura e do texto, nomeadamente a no??o da chamada ?obra aberta? preconizada por Eco (2013) em seu livro hom?nimo publicado na d?cada de 1960. A investiga??o mostra como o poema de Mallarm? contribui ? por meio de seus planos transpon?veis, sua disposi??o de palavras em constela??o e sua constru??o de universos ficcionais fragment?rios ? para a produ??o de sentidos n?o un?vocos e para a multiplica??o de possibilidades de leitura e de frui??o poem?tica. / Disserta??o (Mestrado Profissional) ? Programa de P?s-Gradua??o em Ci?ncias Humanas, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2018. / This thesis aims at attempting to analyze the indeterminate traits, nonconventional verse structures, and random constructions of poetic imagery detectable in the text Un coup de d?s jamais n?abolira le hasard (1897) by French symbolist poet St?phane Mallarm?, based on a 2015 ?transcreation? by Brazilian poet Haroldo de Campos. Given the complexities imposed by the research carried out here, the analysis mobilizes a set of theoretical frameworks which attempt to comprehend the inter-relationships among authorship, readership and the text itself, namely the notion of ?Open Work? put forward by Eco (2013) in his homonymous book published during the 1960s. The investigation shows how Mallarm??s poem contributes ? by means of its interchangeable strata, its constellation layout and its construction of a fragmentary mise-en-sc?ne ? to an equivocal meaning production and to the multiplication of possibilities of reading and poetic jouissance.

Doctor of Philosophy / Department of Economics / William F. Blankenau / This dissertation investigates two essential features of the US economy. First, it explores how news about future productivity changes business cycle fluctuations. Using the a representative agent model, it shows that implementation labor in workplace organization could be an important channel through which news about the fundamentals can realistically generate US business cycle fluctuations. Further this idea is extended using the perspective of sunspot fluctuations. In particular, the model can lead to multiple equilibria under specific parameterizations. Second, a general equilibrium model has been developed with heterogeneous agents to explain the wage polarization feature of the US labor market, particularly how the price of an important technology is connected to lifetime earnings of agents and affects their college decisions. The following summarizes the three chapters of my dissertation. The first chapter which I co-authored with Dr. Blankenau, argues that purchasing investment goods does not directly increase the productive capacity of a business. Changes in the business through the installation of capital, worker training, and workplace reorganization are often required. These changes themselves are not easily automated. Change requires workers. We build a model where investment requires a complementary labor input. This mechanism is embedded in a representative agent model with capacity utilization, adjustment costs, and separable preferences. We show that this environment can yield positive co-movement between consumption, investment, and labor hours when the economy experiences a news shock about future productivity, thus providing an additional channel through which news shocks can generate key business cycle features. The second chapter is an extension of the first chapter. I investigate the indeterminacy in a representative agent model with implementation labor and increasing returns in production. First, my analysis shows that a representative agent with implementation labor can exhibit increasing returns to scale. Then I show that self-fulfilling beliefs of agents lead to business cycle fluctuations in which multiple equilibria can arise under specific parameterizations. Specifically, implementation labor in the production of capital is the highly important, necessary condition for the self-fulling equilibrium outcome. The third chapter, which is also a joint work with Dr. Blankenau, discusses the wage polarization feature of the US labor market. We build a general equilibrium model with heterogeneous agents, showing how wage polarization can emerge when the price of computer capital falls. Consequently, we find the share of the population with a college degree decreases. Our findings are consistent with recent empirical data that show a U-shaped wage growth pattern in the US as well as a slower growth rate of college-educated workers despite the high returns of investing in education. In the model, we assume that each agent is born with a portfolio of skills. Specifically, each agent can provide manual labor, routine labor, and abstract labor and must decide how much of each to provide. An agent can increase efficiency in all types of labor by attending college. All three types of labor are valued in the labor market at an endogenously determined wage rate. Computer capital is a substitute for routine labor. As its price falls and its quantity increases, agents with a relative aptitude for routine labor no longer find it advantageous to attend college. Since routinization of tasks harms middle-income agents, the model has government policy implications for observed wage polarization.

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / A modernidade possibilita uma compreensÃo da experiÃncia do sujeito a partir de regularidades dos modos de ser, agir, julgar etc. Hà uma normatividade que regula a vida social, e o sujeito existe enquanto essa possibilidade de fundar seu prÃprio campo de experiÃncia. Uma teoria do sujeito, a partir dessa perspectiva, corresponde a uma elaboraÃÃo do modo como o humano funda seu lugar enquanto processo de unidade e autoidentidade, estando aà o cerne de normatividade que organiza a vida social. Diante desse problema, criticar a categoria de sujeito corresponde a fundamentar uma teorizaÃÃo que nÃo se comprometa com modos de determinaÃÃo identitÃria do sujeito, mas que compreenda como o campo de experiÃncia se estrutura atravÃs de acontecimentos a partir de uma negatividade. Em ÅiÅek, podemos encontrar o problema do sujeito como o nÃcleo central de seu pensamento, mas esse realiza uma inversÃo da tradiÃÃo que articula a passagem fundamental de uma metafÃsica da identidade para uma ontologia negativa. Dessa forma, o problema fundamental desse trabalho à desenvolver alternativas em relaÃÃo a uma teoria do sujeito comprometida com a ideia de finitude humana, atrelada a um princÃpio identitÃrio: pensar modos de compreensÃo do humano para alÃm dos reconhecidos pela representaÃÃo. Em contraponto a uma filosofia da identidade, o trabalho de ÅiÅek tem se direcionado sobre a questÃo do excesso/falta na ordem do Ser, e à pela relaÃÃo entre idealismo alemÃo e psicanÃlise que ele elabora suas reflexÃes. Essa perspectiva abre um campo polÃtico fundamental, pois a potÃncia de desligamento de modos estruturais de subjetivaÃÃo guarda a possibilidade de novas formas de subjetivaÃÃo. Assim, o sujeito à isso que carrega a condiÃÃo transcendental de possibilidade e impossibilidade dos modos de ser. Uma polÃtica que tem por horizonte a emancipaÃÃo deve fazer um tipo de ruptura na compreensÃo do homem a partir de figuras identitÃrias. Diante desses problemas, à necessÃrio estabelecer uma humanidade liberada da categoria "humano" e que possibilite novos rearranjos polÃticos. O âinumanoâ, entÃo, seria precisamente essa dimensÃo do impessoal e do despersonalizado, o que nÃo pode ser singularizado atravÃs do reconhecimento dos processos psicolÃgicos individuais. A partir dessas reflexÃes sobre processos que acontecem para alÃm dessa categoria de humano, o ato polÃtico-pedagÃgico crÃtico instaura sua prÃpria legalidade, suspendendo a Lei do poder, abrindo espaÃos para a criatividade e a instauraÃÃo de um processo de emancipaÃÃo econÃmico-social, cultural e polÃtico. / The experience of modernity enables a comprehension of the subject based on regularities on the way of being, acting, judging and so on. There is a normativity that regulates social life, and the subject exists as this possibility of setting up its own field of experience. A theory of the subject, from this perspective, corresponds to an understanding that the human founds his ground of experience as a process of unity and self-identity, lying there the core of normativity that organizes social life. Criticising the category of the subject corresponds to grounding a theorisation that is not compromised with identitary modes of determination of the subject, but that understands how the field of experience structures itself through events from a negativity. In ÅiÅek, we can find the problem of the subject as the main core of his thought, but he operates an inversion from the tradition that contains a fundamental passage from a metaphysics of identity to a negative ontology. This way, the main problem of this paper is to develop alternatives in relation to a theory of the subject committed with the idea of human finitude, chained to an identitary principle: thinking the ways of comprehending the humane beyond representation. In opposition to a philosophy of identity, ÅiÅekâs work has been directed on the problem of excess/lack in the order of being, and it is through the relation between German idealism and psychoanalysis that he developed his reflections. This perspective opens a fundamental political field, because the power of dismission of structural modes of subjetivation guards the possibility of new modes of subjectivation. Thus, the subject is the one who carries the transcendental condition of possibility and impossibility of the ways of being. A politics aiming at emancipation must break with the comprehension of man based on identitary figures. In face of these problemes, it is necessary to establish an humanity freed from the category of the âhumanâ, that allows new political arrangements. The âinhumanâ, then, would be precisely this dimension of the impersonal and depersonalized, that which cannot be singled out through the recognition of individual psychological processes. Thus, the critical pedagogical-political act institutes its own legality, suspending the Law of the prevailing oppressive power, opening up spaces for creativity and the establishment of a process of socioeconomic, cultural and political emancipation.

Orientador: Denise Hortensia Lopes Garcia / Acompanha 1 CD-ROM / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T03:14:44Z (GMT). No. of bitstreams: 1 Costa_ValerioFielda_D.pdf: 3477057 bytes, checksum: 8b7774efbdce8810ad0b0d81a4c943b8 (MD5) Previous issue date: 2009 / Resumo: Esta pesquisa teve por finalidade propor a transferência da questão da indeterminação em música para o campo da morfologia musical. Avaliando obras classificadas como indeterminadas quanto à sua abertura a interpretações variadas, constatamos que a definição de uma obra enquanto flexível ou estrita depende sobremaneira de como foi encaminhado seu processo de conformação morfológica levando em consideração não apenas a relação mais ou menos direta entre partitura e resultado sonoro, mas todas as escolhas realizadas, pelo autor e/ou pelos intérpretes, considerando-as como parte essencial da definição morfológica de qualquer proposta. A obra evolui ao adaptar-se a irritações externas adquirindo formas compatíveis com o contexto em que é executada independentemente da forma como é proposta. Ao identificarmos a obra musical como essencialmente flexível - uma vez que presta-se a todo tipo de interpretação se desconsiderarmos casos ideais - passamos a enfatizar, enquanto mote de análise morfológica, as estratégias de invariância que permitem que determinado resultado musical faça sentido mesmo que sua proposição inicial seja vaga: essa noção nos permite entender o resultado musical como fruto de leituras mais ou menos disciplinadas de propostas composicionais cujos objetos teriam uma chance maior de retornarem a cada performance na medida em que as estratégias de invariância se apresentarem suficientemente robustas. Parte relevante das estratégias de invariância surge no trabalho de direção de performance e conta com o reforço de relações intersubjetivas de poder e da mediação e influência do contexto musical, sendo, portanto, ativas para além do paradigma notacional. Levamos em consideração tais características e estudamos como se dão as relações subjetivas que corroboram para que a obra adquira formatos estáveis a despeito de sua manifesta abertura. Pareceres sobre a noção de colaboração entre intérprete e compositor e sobre o papel da escuta e da memória como fatores de deriva morfológica foram também discutidos neste trabalho / Abstract: The aim of this research was to propose a transference of the indeterminacy issue to the musical morphology field. By evaluating musical works classified as indeterminated in respect of their openess to varied interpretations, we realized that the definition of a musical work in the terms of flexibility or strictness highly depends on how its morphological conformation processes was taken, considering not only the relation, more or less direct, between the music notation and the sound result, but all the choices made by the authors and/or performers, understanding them as essencial parts of the morphological definition for any proposal. The musical work evolves when adapting to external irritations, acquiring compatible forms with the context in which it is executed, independently on how it was previously proposed. When we identify the musical work as essencialy flexible - when it is opened to all kind of interpretations, not considering ideal situations - we enphatize, as a morphological subject analysis, the invariacy strategies that aloud that a specific musical result can make sense even if its first proposition was vage: this notion aloud us to understand the musical result as a product of more or less disciplinated readings of composition proposals in which the objects would have a better chance to reappear in each performance, once the invariancy strategies are strong enough. A relevant aspect of the invariancy strategies comes out with the performance direction job and counts with the support of intersubjective relations of power and the mediation and influency of the musical context, therefore, the invariancy strategies act beyond the notation paradigm. We considered those characteristics and researched the subjective relations that corroborate for the musical work to acquire stable formats, inspite of its obvius openess. Statments about the notion of the collaboration between performers and composers and about the function of hearing and memory as factors of morphological drift, were also discussed in this research / Doutorado / Doutor em Música

The Darmstadt Internationale Ferienkurse für Neue Musik (IFNM) contributed to the rise of solo multiple percussion music and compositional techniques found in early repertoire, including graphic notation and indeterminacy. John Cage wrote the first solo multiple percussion work (27' 10.554" for a Percussionist) in 1956, two years before he became involved at the Darmstadt IFNM. Cage then delivered a lecture at the courses in 1958 about indeterminacy, and the next year (1959) Stockhausen composed the second work for solo multiple percussion—Nr. 9 Zyklus—for the IFNM. In the same year, Stockhausen also delivered a lecture about graphic notation. Seven years later in 1966, Helmut Lachenmann—who was active at the IFNM since 1957—composed Intérieur I für einen Schlagzeugsolisten which utilizes graphic notation and indeterminacy. The three pieces by Cage, Stockhausen and Lachenmann will be examined in regards to how they employ graphic notation and indeterminacy and similarities and differences in how these techniques are used will be cited.

This exposition provides the insight of indeterminacy during improvisation, as well as the reflection process of how I converted my problems-solving skills to planned improvisation during the adverse filming condition of my graduation feature film production. I define Improvisation as a way to be adaptive and flexible in uncertainty, while problem- solving as a solution to overcome the obstacles faced. I started from an ambitious goal by making a feature length hybrid film for my graduation showcase in my two years of master study. Facing problems like lack of money, insufficient network to find talents and limited time to acquire local knowledge of the working styles in the country, I met a lot of challenges. When I solved the problems one by one within this filmmaking process, I gradually realized I relied quite a lot on improvisation. It does not only apply on the set when I worked with the actors, but also on scriptwriting, crew recruiting, locations scouting, shots creation, etc. The turning point for me to change from coincidental (unplanned) improvisation (because it is needed with problem solving) to deliberate (planned) improvisation started from my second half of principal photography (or simply called production/filming) stage because more uncertainty emerged and I started to get used to such style. At the end, I made two versions of the films with different levels of improvisational practice. I will reflect my whole filmmaking process and its connection with improvisation from my film products.

This dissertation primarily concerns selected structural elements in Bagatelles and Konstellationen. These are pitch/interval, rhythm/meter in Bagatelles, the formal design and its relations with dynamics and texture in Konstellationen, as well as the usage of indeterminacy. There are also selected aspects of performance in regard to extended technique, pedaling, and certain dynamic control problems related to two works in question. Chapter one introduces the historical background of Polish music and the emergence of Poland as one of the leading forces in contemporary music. It also provides the musical background of Moszumanska-Nazar, as well as the stylistic features and representative works in her three compositional periods. Personal interviews and correspondence with the composer provide additional biographical and stylistic insight for this chapter. Chapter two focuses on the aspects of structural procedure. In Bagatelles, the structural elements are: organized pitch sets, the dominance of linear interval, scale pattern, dissonant intervals, as well as the rhythmic pattern and the various metric designs. Konstellationen present most interesting and unusual formal design in that the elements that delineate the form are dynamics, texture and certain pianistic devices, such as the ostinato, trills, abrupt high notes, irregular fast notes, and clusters. Chapter three addresses particularly the aleatoric elements. The study covers areas of pitch, rhythm, and form with a brief introduction of music in indeterminacy. Chapter four turns to several issues pertaining to the performance aspects. These include pedaling, extended techniques, and dynamic control. The last part of this chapter draws conclusions from the observation and analysis of the two works in question.

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Dans Literal Meaning, François Recanati cherche à montrer que ce qui est dit lorsqu’une phrase est prononcée correspond à un contenu fondamentalement pragmatique. À cet effet, il propose deux arguments généraux qui consistent à faire valoir que ce qui est dit est indéterminé si l'on s'en tient aux règles de la sémantique. Le premier de ces deux arguments tente d’établir que dans bien des cas, le contenu sémantique supposément associé à une phrase ne correspond pas à ce qui est dit. Le second est plutôt une élaboration de la thèse wittgensteinienne suivant laquelle la signification des types linguistiques est indéterminée. Pour ma part, je soutiens que si nous adoptons effectivement une conception wittgensteinienne de la signification, certains des exemples supposés illustrer le premier de ces deux arguments peuvent et doivent être critiqués. / In Literal Meaning, François Recanati argues that what is said when a sentence is uttered corresponds to a content that is fundamentally pragmatic. To this end, he proposes two general arguments according to which what is said will be indeterminate if we stick to the rules of semantics. The first of these two arguments tries to establish that in many cases, the semantic content supposedly associated with a sentence does not correspond to what is said. The second one is rather an elaboration of Wittgenstein’s thesis to the effect that the meaning of linguistic types is indeterminate. As for me, I claim that if we indeed adopt a wittgensteinian conception of meaning, some of the examples that are supposed to illustrate the first of these two arguments can and should be criticized.