Since equity premium puzzle had long been a problem, many economists tried to give reasonable interpretations to the puzzle. I focus on the type of theories using bounded rationality as the answer to the problem. I am willing to find out that whether the puzzle still exists in recent decades. If it does exist, are the theories of bounded rationality still able to explain the puzzle? In the beginning, I introduce two theories referring to bounded rationality. Afterwards, I empirically analyze the data of the U.S., Japan and Euro-area by using a simpler model based on rationality. Interestingly, circumstances vary a lot from country to country. One theory may be suitable for one country but not for the others. Even so, the “suitable” theory fails to completely explain the whole tendency of variation during the observed period in the country. In the future, we still need to explore in depth of the puzzle.

This paper discusses the puzzle introduced by Jennifer Saul, which involves swapping coreferential proper names in simple sentences such as (1) Benito dresses as Clark Kent, and (1*) Benito dresses as Superman. While the traditional Frege's puzzle suggests that such substitutions do not change the truth value of a sentence, Saul's puzzle suggests otherwise. My paper explains Saul's proposed solution based on conversational implicatures and argues against it. Then I introduce a different solution called the Shifty-Fregean solution, which states that proper names in some contexts refer to their senses rather than the reference. The paper argues that this solution is better than Saul's and outlines a new approach to Saul's puzzle. The paper is divided into three sections. First, I will provide an overview of Saul's puzzle and Frege's puzzle. Second, I will discuss Saul's solution and its rejection. Finally, I will develop the Shifty-Fregean solution. / Master of Arts / This paper discusses the puzzle introduced by Jennifer Saul, which involves swapping coreferential proper names (i.e. names that refer to the same object) in simple sentences such as (1) Benito dresses as Clark Kent, and (1*) Benito dresses as Superman. While the traditional Frege's puzzle suggests that such substitutions do not change the truth value of a sentence, Saul's puzzle suggests that they do. My paper explains Saul's proposed solution based on conversational implicatures (i.e. inferences that speakers make based on the literal meaning and the context of the conversation) and argues against it. Then I introduce a different solution called the Shifty-Fregean solution, which states that proper names in some contexts refer to their senses rather than the reference. The paper argues that this solution is better than Saul's and outlines a new approach to Saul's puzzle. The paper is divided into three sections. First, I will provide an overview of Saul's puzzle and Frege's puzzle. Second, I will discuss Saul's solution and its rejection. Finally, I will develop the Shifty-Fregean solution.

För att en organisation ska kunna överleva i en tid som präglas av förändring och hård konkurrens, krävs en organisationskultur som främjar innovation. Många av de komponenter som litteratur inom innovationsområdet beskrivs som essentiella för just en sådan här kultur, återfinns också i improvisationsteater. Den här studien binder samman dessa två områden, både ur ett teoretiskt perspektiv och genom en praktisk, undersökande studie. Studiens hypotes var: ”Improvisationsteaterworkshops kan, av ett arbetslag, upplevas som ett fungerande verktyg till att på längre sikt kunna skapa en organisationskultur som främjar innovation.” För att kunna verifiera eller falsifiera hypotesen, genomfördes tre improvisationsteaterworkshops på ett företag där åtta deltagare på ett lekfullt och prestigelöst sätt fick ta del av hur improvisationsteater kan relateras till arbetslivet på olika sätt. Datainsamlingen skedde med hjälp av reflekterande dagböcker och intervjuer. Samtliga åtta deltagare ansåg att det de upplevt på längre sikt skulle kunna bidra till att skapa en organisationskultur som främjar innovation, och studiens hypotes kunde därigenom verifieras.

The electromagnetic form factors are the most fundamental observables that encode information about the internal structure of the nucleon. The electric ($G_{E}$) and the magnetic ($G_{M}$) form factors contain information about the spatial distribution of the charge and magnetization inside the nucleon. A significant discrepancy exists between the Rosenbluth and the polarization transfer measurements of the electromagnetic form factors of the proton. One possible explanation for the discrepancy is the contributions of two-photon exchange (TPE) effects. Theoretical calculations estimating the magnitude of the TPE effect are highly model dependent, and limited experimental evidence for such effects exists. Experimentally, the TPE effect can be measured by comparing the ratio of positron-proton elastic scattering cross section to that of the electron-proton $\large(R = \frac{\sigma (e^{+}p)}{\sigma (e^{-}p)}\large)$. The ratio $R$ was measured over a wide range of kinematics, utilizing a 5.6 GeV primary electron beam produced by the Continuous Electron Beam Accelerator Facility (CEBAF) at Jefferson Lab. This dissertation explored dependence of $R$ on kinematic variables such as squared four-momentum transfer ($Q^{2}$) and the virtual photon polarization parameter ($\varepsilon$). A mixed electron-positron beam was produced from the primary electron beam in experimental Hall B. The mixed beam was scattered from a liquid hydrogen (LH$_{2}$) target. Both the scattered lepton and the recoil proton were detected by the CEBAF Large Acceptance Spectrometer (CLAS). The elastic events were then identified by using elastic scattering kinematics. This work extracted the $Q^{2}$ dependence of $R$ at high $\varepsilon$ ($\varepsilon > $ 0.8) and the $\varepsilon$ dependence of $R$ at $\langle Q^{2} \rangle \approx 0.85$ GeV$^{2}$. In these kinematics, our data confirm the validity of the hadronic calculations of the TPE effect by Blunden, Melnitchouk, and Tjon. This hadronic TPE effect, with additional corrections contributed by higher excitations of the intermediate state nucleon, largely reconciles the Rosenbluth and the polarization transfer measurements of the electromagnetic form factors.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-07T12:33:53Z No. of bitstreams: 1 pedrofelipeleitecarcereri.pdf: 1340263 bytes, checksum: f705b9a7aa2ec51f03164f4f9aaef593 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-07T21:40:23Z (GMT) No. of bitstreams: 1 pedrofelipeleitecarcereri.pdf: 1340263 bytes, checksum: f705b9a7aa2ec51f03164f4f9aaef593 (MD5) / Made available in DSpace on 2015-12-07T21:40:23Z (GMT). No. of bitstreams: 1 pedrofelipeleitecarcereri.pdf: 1340263 bytes, checksum: f705b9a7aa2ec51f03164f4f9aaef593 (MD5) Previous issue date: 2015-04-01 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / Puzzle-films são filmes que apresentam narrativas com estruturas não-lineares. Seu contexto envolve a apresentação de pistas que são usadas para chegar a uma conclusão. A presença dessas estruturas no gênero fantástico dá origem a uma estrutura narrativa interessante, com semelhanças e diferenças peculiares. O fantástico pode subverter a estrutura conclusiva do puzzle, como um quebra-cabeças montado, através do aspecto da hesitação que é inerente ao gênero fantástico, originando dessa maneira representações de um “desvio autorizado”. Para um estudo de caso foram escolhidos dois filmes: Abre los Ojos (Abre los Ojos, Espanha, Alejandro Amenábar, 1997, 117 min.) e Yella (Yella, Alemanha, Christian Petzold, 2007, 89 min.). É possível, a partir do estudo dos referidos filmes, encadear uma análise de como o puzzle e o fantástico se relacionam dentro de narrativas fílmicas e se as dicotomias estudadas ocorrem nas duas ocasiões. Pode-se traçar desta forma, alguns objetivos relevantes para o estudo. Os puzzle-films se relacionam com o gênero fantástico de maneira exclusiva ou relacional? O gênero fantástico serve como efeito subversivo da ordem final do puzzle resolvido, através de características de hesitação, transgressão, desvio e estranheza? Esse desvio pode ser motor de análise de possíveis reflexos de questões da sociedade contemporânea? Esses dois filmes, através de suas narrativas puzzle, são capazes de ser usados como exemplo para responder a essas questões? Feitas essas perguntas, partiremos então para a tentativa de respondê-las com uma metodologia e uma fundamentação teórica já bem consolidada. Aproximaremos-nos da questão de gênero através de uma perspectiva semântico/sintática pragmática. Quanto às questões do fantástico e dos puzzle, nos utilizaremos de pesquisas feitas no âmbito literário e cinematográfico. E, ao analisar a questão da transgressão, olharemos para teorias da sociologia do desvio para entender onde se localizam as representações dos outsiders. / Puzzle-films are films that present narratives with non-linear structures. Their context involves the presentation of cues that are used to arrive at a final conclusion. The presence of these structures in the fantastic genre results in an interesting narrative structure, with similarities and differences. Fantastic can subvert the puzzle conclusive structure, like a puzzle assembled, by the hesitation aspect that is inherent in the fantastic genre, giving this way representation of an "authorized deviation". For a case study we chose two films: Abre los Ojos (Abre los Ojos, Spain, Alejandro Amenábar, 1997, 117 min.) and Yella (Yella, Germany, Christian Petzold, 2007, 89 min.). It is possible so chain together from an analysis of how the puzzle and the fantastic relate in film narratives and studied dichotomies occur on both occasions. Then we can draw some important goals for the study. The puzzle-films relate to the fantastic genre exclusively or relational way? The fantastic genre serves as subversive effect of the final order of the puzzle solved through hesitation features, transgression, deviation and strangeness? This deviation can be an analysis engine of possible reflections of the contemporary societal issues? These two films through their narratives puzzle, are able to be used as an example to answer these questions? With these questions then we depart to the attempt to answer them with a methodology and theoretical foundation already well established. We will approach to the question of gender through a semantic perspective / pragmatic syntax. The questions of the fantastic and the puzzle we will use the research done in the literary and cinematic scope. And in discussing the question of transgression, we will look at the sociology of deviance theories to understand where are located the representations of outsiders.

The Diploma thesis is concerned with coupling of images. In the first part theoretical bases necessary for successful fulfilling of the assignment are described. The second part deals with the procedures that lead to composition of the jigsaw puzzle. The last part concentrates on controlling the program. The aim of the thesis is to propound an algorithm for solving a puzzle.

Game instructions play an important role in all games, as players always need them to help them understand the rules of the game. Constructivist learning theory and procedural rhetoric theory provide the theoretical basis for exploring unguided game instruction. This thesis aims to investigate two aspects of unguided game instruction, how it affects players' perceptions of the rules of the game, and how it affects players' perceptions of the message the game is trying to convey. An experiment was conducted with a control group and the results were analysed both quantitatively and qualitatively, based on objective data of the participants' performance during the game and their subjective answers in the post-game questionnaire. The main conclusion is that, unguided game instruction helps some players to construct an understanding of the rules, but it has no clear advantage in helping the player to understand the message the game is trying to convey.

This study is focused on the challenges in puzzle video games. Based on several previous studies, the researcher created seven different types of challenges in puzzle games. To study the key of challenging levels in puzzle games, three games were chosen, then walkthrough videos of these games were watched and challenges were noted and categorized into different types. The collected data showed that different puzzle games have different challenge types while abstract reasoning is the most common challenge in every puzzle game. The total challenge numbers and pacing in puzzle video games strongly depend on the design intention of the game. And The number of challenge types has no direct connection with difficulty. The category of seven types of challenges and the results of this study may bring reference and inspiration to future studies. It may also shed some light on puzzle game design.

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