Global competencies, with differences in terminology by various researchers, had been frequently investigated, primarily from an American-biased perspective. Little or no defining research existed that identified requisite, universally agreed upon global competencies, or identified what affective components were perceived to be important cross culturally. This research study answered the following questions: 1. What affective components are perceived to be important from a cross-cultural perspective? 2. Are there differences in these perceptions of affective components from a cross-cultural perspective? The purpose of the study was to explore the extent to which individuals in different GeoCultural regions view and identify affective components perceived to be important in today's global society. Affective components relate to emotions, values, and beliefs. The research entailed the development of two instruments for placing individuals within a primary region (the background information form) and for identifying and rating affective components perceived to be important in today's global society from a cross-cultural perspective (the affective component questionnaire). The study used four expert panels to perform content validation. Both instruments were developed by global experts from eight GeoCultural regions. As a result of the panel process, nine affective components were identified. Two instruments were administered, through intermediaries, to individuals in all the GeoCultural regions and subcategories. Of the responses, 423 were usable. Affective competence appears to be a complex construct that involves more than one component. Based on this study, there are at least nine different affective components perceived to be important in order to be a culturally competent individual in today's global society. All of the nine affective components were perceived to be important in all GeoCultural regions and subcategories. Repeated measures ANOVA and Dunn's pairwise comparisons tests were used to assess differences between the affective components and the GeoCultural regions/subcategories. There were differences found in three of the affective components indicating that there may be some differences between GeoCultural regions and subcategories. The Caribbean respondents did not value three affective components as highly as some of the other GeoCultural regions. Repeated measures ANOVAs were also used to determine if there were any significant differences between the subcategories of Asia and the subcategories of Oceania. Since no significant differences existed in either GeoCultural region, it lends support to the notion that the subcategories are not needed for research dealing with affective components.

Torsion pairs were introduced by Dickson in 1966 as a generalization of the concept of torsion abelian group to arbitrary abelian categories. Using torsion pairs, we can divide complex abelian categories in smaller parts which are easier to understand. In this thesis we discuss torsion pairs in the category of modules over a finite-dimensional algebra, in particular we explore the relation between torsion pairs in the category of all modules and torsion pairs in the category of finite-dimensional modules. In the second chapter of the thesis, we present the analogue of a classical theorem of Auslander in the context of τ-tilting theory: for a finite-dimensional algebra the number of torsion pairs in the category of finite-dimensional modules is finite if and only if every brick over such algebra is finite- dimensional. In the third chapter, we revisit the Ingalls-Thomas correspondences between torsion pairs and wide subcategories in the context of large torsion pairs. We provide a nice description of the resulting wide subcategories and show that all such subcategories are coreflective. In the final chapter, we describe mutation of cosilting modules in terms of an operation on the Ziegler spectrum of the algebra.

This research-creation thesis describes and analyzes the dramaturgical methodologies of verbatim theatre – a form of documentary theatre that uses transcripts as the dominant source of its dialogue – through the practical exercise of play writing. This paper marks the theoretical component of my thesis, which analyzes both the dramaturgical process and the historical context of my play Exhibit A. Using verbatim transcripts from legal evidence for its dialogue, the play examines the psychology of two teenage boys responsible for the brutal rape and murder of an 18-year-old Canadian woman in 2010. As documentary theatre emphasizes socio-political themes, this thesis considers the dramaturgical, aesthetic, and ethical considerations of verbatim theatre through my experience as a playwright and researcher. Acknowledging both the historical antecedents of documentary theatre and its contemporary examples, this thesis will define an original typology of verbatim theatre entitled the “Subcategories of Verbatim Theatre”. These subcategories are identified as Tribunal, Literary, Historical Drama, Expository and Participatory. Each privileges different types and usages of documents, which are further defined as being primarily related to “text” or “aural” based testimony. The thesis relates the dramaturgical principles of each subcategory to artistic choices made in Exhibit A. A description of the various incarnations of verbatim and documentary theatre, as well as an analysis of my experience as a documentary playwright examines the dramatic representation of reality as highly constructed in this form of theatre where the selection and editing of a documentary play's archive is a creative process that is not dissimilar from the creation of fictional drama. In that sense, the documentary genre can be said to present a dramatic representation of the playwright's subjective version of the truth. Exhibit A thus stands as my creative reconstruction of the evidence presented in the Kimberly Proctor murder trial.

This research-creation thesis describes and analyzes the dramaturgical methodologies of verbatim theatre – a form of documentary theatre that uses transcripts as the dominant source of its dialogue – through the practical exercise of play writing. This paper marks the theoretical component of my thesis, which analyzes both the dramaturgical process and the historical context of my play Exhibit A. Using verbatim transcripts from legal evidence for its dialogue, the play examines the psychology of two teenage boys responsible for the brutal rape and murder of an 18-year-old Canadian woman in 2010. As documentary theatre emphasizes socio-political themes, this thesis considers the dramaturgical, aesthetic, and ethical considerations of verbatim theatre through my experience as a playwright and researcher. Acknowledging both the historical antecedents of documentary theatre and its contemporary examples, this thesis will define an original typology of verbatim theatre entitled the “Subcategories of Verbatim Theatre”. These subcategories are identified as Tribunal, Literary, Historical Drama, Expository and Participatory. Each privileges different types and usages of documents, which are further defined as being primarily related to “text” or “aural” based testimony. The thesis relates the dramaturgical principles of each subcategory to artistic choices made in Exhibit A. A description of the various incarnations of verbatim and documentary theatre, as well as an analysis of my experience as a documentary playwright examines the dramatic representation of reality as highly constructed in this form of theatre where the selection and editing of a documentary play's archive is a creative process that is not dissimilar from the creation of fictional drama. In that sense, the documentary genre can be said to present a dramatic representation of the playwright's subjective version of the truth. Exhibit A thus stands as my creative reconstruction of the evidence presented in the Kimberly Proctor murder trial.

ESG investing is a hot subject in today’s world with socially responsible investments under management reaching 35.3 trillion in the beginning of 2020. Corporations today are highly affected by social and government pressure to take on corporate social responsibility. This rise in corporate social responsibility has led to a need for a deeper understanding of what lies beneath the ESG score and how this affect financial performance. In this study we disassemble the ESG score into its 10 subcategories and test how risk and financial return get affected by investing in a high scored portfolio compared to a low scored one. The study is carried out from the start of 2012 to the end of 2021. When testing our portfolios, the Fama-French five-factor model is applied, and we find results that shows that the alpha is positive and significant in 16 out of 20 portfolios. Our findings suggest that investing in low scored portfolios produce higher excess return than both the top portfolio and the market and that a portfolio consisting of low scored corporations have a higher Sharpe ratio in general than a portfolio consisting of high scored stocks. Furthermore, we find results indicating that for most of the ESG subcategories, investing in the portfolios with high ESG subcategory scores will provide significant excess return to the market.