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This study investigates, with a critical approach, if portfolios consisting of high beta stocks yields more than portfolios consisting of low beta stocks in the Swedish stock exchange market. The chosen period is 1999-2016, covering both the DotCom Bubble and the financial crisis of 2008. We also investigate if the Capital Asset Pricing Model is valid by doing a test similar to Fama and Macbeth’s of 1973. Based on earlier studies in the field and our own study we come to the conclusion that high beta stocks does not outperform low beta stocks in the Swedish stock market 1999-2016. We believe that this relationship arises from inefficiencies in the market and irrational investing. By doing this study we observe that, the use of beta as the only risk factor for explaining expected returns on stocks or portfolios is not correct.

By looking at the world inhabited by those characters who partake of the dramatic action in King Lear, Antony and Cleopatra and Macbeth, and the relationship of these characters to their world, or universe, it is hoped to establish how certain factors affect the genesis, development and resolution of the tragedies in which they play their roles. This will be done by an examination of what Shakespeare sometimes called the "Bonds," which, as we shall see, derive from the mediaeval concepts of Nature, Law and Grace that were current in his time. This thesis does not claim to offer a complete or exclusive solution to the problem of the critical interpretation of these three tragedies: one of the dangers of Literary criticism has always appeared to the writer to be that of maintaining that the approach adopted is the only one and of attempting to demonstrate that the theory coincides at every point with the work - admitting of no inconsistencies or alternatives, and thereby making nonsense of a theory that does have considerable validiity. Similarly, it is with considerable hesitation that names have been given to the various Bonds discussed. Once one names them and applies a certain range of definitions to these names, it is difficult to stress that the names and definitions are not static or rigid. The Bond of Nature, for example, although it has a central core of meaning common to all three tragedies, is not treated from the same viewpoint in King Lear as it is in Antony and Cleopatra or Macbeth. Three considerations have prompted the writer to select this subject for the theme of a thesis. Firstly , the hypothesis that some failure, violation, misunderstanding or inadequacy of the Bonds lies at the heart of the tragic movement does appear to augment existing concepts of the nature of tragedy and help us better to understand the Why? How? and When? of the tragic process. Secondly, the concept of the principles of Nature, Law and Grace as determinants of the Bonds, which occurs so frequently in Elizabethan thinking, does seem to offer us a unified approach to their treatment of man and the world he inhabits at any particular point in history. By quoting from a wide range of sources dealing with this subject, the writer hopes to demonstrate that such a concept did exist, and that it was relatively consistent and generally accepted by Shakespeare and many of his contemporaries. It is, moreover, a system of thought that can embrace within its ambit such diverse materials as the great chain of being; the microcosm and the macrocosm; the nature of the soul; the structure of the family, the clan or the nation; the concepts of sin, damnation and life everlasting; the four elements; and the humours - and assign to these and many others a proper nature, place and function in the overall scheme. Thirdly, the writer was prompted to select this subject for a thesis because no critical writing to date appears to have dealt fully with the subject of the Bonds and their relationship to these principles of Nature, Law and Grace in Shakespearean tragedy . There have, it is true, been critics who have dealt with facets of these principles, and there have been critics who have commented on the violation, misunderstanding or inadequacy of various Bonds, but none of them seems to have dealt with the subject as a whole. Preface, p. iv-vi.

Previous research conducted on the US markets has found that retailers' trading imbalances can contribute to excess return opportunities, especially on Small Cap stocks. Therefore, we argue that this can be seen as an anomaly. However, anomalies that are found historically may not tell the whole truth. This is because these anomalies have been established on respective studies' specific markets and time periods. Researchers that have investigated the issue argue that it is essential to further challenge anomalies by replicating them in other settings to see if the evidence still holds. Hence, the purpose of this study is to examine if the retailers' trading imbalance anomaly can be replicated on Swedish Small Cap listed firms. We have examined this by using cross-sectional regressions in the spirit of Fama and MacBeth. This thesis concludes that the retailers’ trading imbalances cannot be replicated when applied to the chosen setting. We argue that the reasons for this are that retailers’ trading imbalances are not persistent, are not compensated when providing liquidity into the markets, and that it does not contain useful information about future stock returns. In addition, we also argue that inherent differences in the US markets compared to the Swedish Small Cap listed firms are affecting our possibility to successfully replicate the anomaly.

No description available.

This thesis evaluates tragic characters from three representative tragedies, Macbeth, Antigone, and Death of a Salesman, in terms of Lawrence Kohlberg's six stage theory of moral development. A tragic character's moral judgment is described as being founded on universal values and principles which determine stage placement. The tragic situation is precipitated by conflict experienced by a character between his present stage form of evaluation and the more preferred, differentiated and integrated form of the next higher stage. Since Kohlberg's theory is cognitive-developmental with the moral principle of justice emerging autonomously at the stage six level, its application aids in supporting a view of tragedy based on a moral order having justice as its highest principle and on a continuity independent of historical and cultural influence.

No description available.

La tesi investiga la critica shakespeariana di Hazlitt, concentrandosi sulle analisi alle quattro maggiori tragedie del bardo, Macbeth, Othello, Hamlet e King Lear. Uno dei i principali e più importanti obiettivi della tesi è quello di dimostrare come la critica shakespeariana di Hazlitt si discosti da quello che è solitamente conosciuto come “character criticism”, mettendo in luce l’interesse del critico romantico non soltanto per i personaggi, ma anche per la trama e la struttura generale dei drammi, e per le interpretazioni teatrali dei drammi stessi. Il capitolo uno riunisce le recensioni, i saggi, le lezioni e le pubblicazioni che costituiscono il vasto apparato critico shakespeariano di Hazlitt, fornendo un’interessante ed ampia panoramica delle principali fonti della sua critica shakespeariana. I capitoli due e tre presentando un’analisi puntuale delle letture hazlittiane delle quattro grandi tragedie di shakespeare, rispettivamente di Macbeth e Othello, Hamlet e King Lear. Vengono evidenziati gli elementi che permettono di inserire Hazlitt fra i maggiori esponenti del Romanticismo critico inglese e di proporlo come acuto precursore di argomentazioni novecentesche su Shakespeare. / The dissertation investigates Hazlitt’s Shakespearean criticism, focusing mainly on his analysis of Shakespeare’s major tragedies, Macbeth, Othello, Hamlet and King Lear. One of the main and most important objectives of the dissertation is that of demonstrating that Hazlitt’s Shakespearean criticism differs from what is usually known as “character criticism”, underlining the critic’s interest not only for the characters, but also for the plot and the general structure of the plays, and for the theatrical interpretations of the plays themselves. Chapter one collects the reviews, the essays, the lectures and the many publications that constitute Hazlitt’s vast Shakespearean criticism. It provides an interesting and wide overview of the main sources of Hazlitt’s Shakespearean criticism. Chapters two and three present an accurate analysis of Hazlitt’s readings of Shakespeare’s great tragedies, respectively Macbeth and Othello, Hamlet and King Lear. These chapters bring to light the elements that allow Hazlitt to be included among the major English Romantic critics and that establish him as acute forerunner of twentieth-century Shakespearean theses.

Aufgabe der Studienarbeit ist die Entwicklung einer Software mit grafischer Benutzeroberfläche, welche es ermöglicht, Farbtesttabellen (color test charts) mit Hilfe des Spektralfotometers Spectrolino der Firma X-Rite Incorporated (ehemals GretagMacbeth GmbH) und dem dazugehörigen XY-Tisch SpectroScan zu messen. Das zu schreibende Programm soll standardisierte und auch nicht standardisierte Testtafeln weitgehend automatisch messtechnisch erfassen können.