Baigiamajame magistro darbe yra nagrinėjama aktyvaus tarptautiniu mastu diversifikuoto portfelio sudarymo ir valdymo problematika. Techninė pažanga ir investicinių priemonių įvairovė leidžia investuotojams investuoti į įvairias pasaulio rinkas kuriant tarptautinius ar globalius investicijų portfelius. Tai suteikia investuotojams galimybę kovoti su tokiais išsivysčiusių kapitalo rinkų iššūkiais kaip šalies sisteminės rizikos padidėjimas dėl įvairių verslo šakų tarpusavio integracijos, nepakankamais kai kurių rinkų augimo tempais, tačiau iškelia ir naujų iššūkių. Pagrindinis jų yra efektyvaus portfelio sudarymo menko informuotumo, didelio neapibrėžtumo ir rinkų nepastovumo sąlygomis iššūkis. Šiame darbe yra nuosekliai nagrinėjami investicijų portfelių sudarymo metodai ir modeliai įvertinant jų taikymo galimybes darbe analizuojamai problemai spręsti. Remiantis atlikta analize, parenkamas modelis geriausiai tinkantis tolesnei plėtotei, vertinami pagrindiniai mokslininkų siūlomi jo papildymai ir taikymo interpretacijos nuosekliai pereinant prie pirmos tikslo dalies įgyvendinimo – aktyviam tarptautiniu mastu diversifikuoto investicijų portfelio valdymui skirto teorinio – hipotetinio modelio pasiūlymo. Atlikus tarptautinės diversifikacijos privalumų ir trūkumų analizę, pagrindžiamas jos taikymo būtinumas ir nauda. Atlikta pagrindinių tarptautinės diversifikacijos vykdymo būdų apžvalga leidžia parinkti, autoriaus nuomone, geriausią šiuo metu Lietuvos investuotojams prieinamą –... [toliau žr. visą tekstą] / The master thesis examines problems of the active internationally diversified investment portfolio selection and management. Technical progress and variety of investment objects (financial assets) allow investors to invest in different world markets developing international or global investment portfolios. It gives opportunities to deal with such challenges of developed capital markets as high systematic risk and limited growth of some markets, but as a result investor must accept some new challenges. The most important of them is an efficient portfolio selection in terms of low information level, high uncertainty and market volatility level. The models of investment portfolio selection are analyzed evaluating opportunities to use them solving in this thesis examined problem. On the basis of the conducted research a model which is most suitable for further development is chosen, the main supplementary supplements and interpretations of applications are analyzed, leading to the implementation of the first part of the set goal which is the suggestion of theoretical–hypothetical model for active management of an internationally diversified investment portfolio. The careful consideration of the advantages and disadvantages of international diversification proves the necessity and benefits of its application. Main methods’ of international diversification analysis gives opportunity for the thesis author to chose the best investment’s method possible for Lithuanian investors – the... [to full text]

Uppsatsen ämnar utforska hur den postapokalyptiska genren brukar historia. Detta görs genom en läsning av Dimitrij Gluchovskijs Metro 2033 (2009), utifrån Espmarks syn på dialogicitet och Aronssons historiebruksteoretiska tankar, där historiskt meningsskapande med olika syften blir till genom berättelser i former som större narrativ, metaforer, metonymier och symboler.Bakhtins kronotop används också, men med Aronssons fokus på dess spatiala sida. Uppsatsen föreslår att figuren kan användas för att visa hur fiktionen kan skapa ett abstrakt rum istället för ett rent konkret eller fysiskt, och därmed få med de känslor och den världssyn som är intimt sammanlänkade med det fysiska rummet. I uppsatsen friläggs hur Metro 2033 återskapar en abstrakt version av det kalla krigets spelplan för att legitimera kärnvapenkrigsmotivet.Förslag ges också på en begreppsapparat för att tala om olika historiska nivåer i den postapokalyptiska fiktionen där vår samtids accepterade historia, förutom att den modifieras fiktivt, också får sällskap av spekulativ pre- och postapokalyptisk historia. Uppsatsen ger flera exempel på hur texten brukar historia, bland annat hur den spekulativa historien kan användas för att kommentera företeelser ur samtidens accepterade historia. Uppsatsen visar också att ett av textens huvudsakliga budskap, uppmaningen till mänskligheten att sluta konstruera och demonisera den andre, medvetet förstärks genom bruket av historia eftersom den historiska dimensionen ger kontinuitet till den framtida visionen. / The aim of this essay is to explore the using of history in post-apocalyptic fiction. This is accom-plished by reading and analyzing Dimitrii Glukhovskii’s Metro 2033. The theoretical basis for the reading is the dialogicity of Espmark and Aronsson’s theory of using of history. It posits that the production of meaning through history is made from narratives of different lengths and shape, such as metaphors, metonymies and symbols. The chronotope of Bakhtin is also applied, but with Aronssons focus on its spatial component. A suggestion is made to apply it in a way that shows how the fiction can refer to, or create, an ab-stract spatial location, rather than a physical, and thereby evoking the feelings and worldviews intimately associated with the location and its time. In the reading of the text this is shown by ar-guing that Glukhovskii recreates the cold war as an abstract chronotope to legitimize his nuclear apocalypse scenario. The essay presents suggestions for definitions of the historical levels in the genre. These are la-beled accepted history of the present, fictive rewriting of the same, and lastly pre- or post-apoca-lyptic speculative history, depending on whether the temporal interest lies prior to or after the im-agined apocalypse. The essay exemplifies a number of ways in which the text uses history, one of which is to use the speculative history to comment on the accepted history of the present. The essay also shows that the intent of the text, the plea to humanity to stop the process of othering, is enhanced by the use of history since the historical perspective offers a retrospective continuity that strengthens the future vision.

This thesis identifies a trend in recent postmodern dystopian fiction for writers to metafictionally dwell on the place of literature in a future context. This trend springs from similar concerns present in the two most influential dystopian novels of the 20th century, Brave New World and Nineteen Eighty-Four. Yet, unlike Huxley and Orwell, for whom the marginalization of literature is merely one symptom of the hegemonic control oppressing these future societies, the postmodern writers I identify situate the book’s future disappearance at the epicenter of culture’s demise. In Gary Shteyngart’s Super Sad True Love Story (2010), electronic technologies have virtually eradicated print literature and the novel’s protagonist, Lenny, mourns the changes in social interactions he sees this shift in technology bringing about. In Jeanette Winterson’s The Stone Gods (2007), marginalized book-lovers see the devastation humanity continuously wreaks on the environment as a product of culture’s disdain for literature.

Submitted by Maximilian-Benedikt Koehn (mb@koehn.cc) on 2015-10-27T13:40:42Z No. of bitstreams: 1 MasterThesis_FGV_MBK-2.pdf: 1998443 bytes, checksum: f5b2dd679c9a165738dd916b469de18e (MD5) / Rejected by Ana Luiza Holme (ana.holme@fgv.br), reason: Maximilian, In second page, the date is incorrect, it should be 2015. Also the pages numeration in the thesis is incorrect, it should started at the first page of the thesis but the number only appear in the introdution. and it should be at the bottom of the pages. Ex: Introdution is page 10 so in the bottom of the page you see the number 10. Also you didn't write the acknowledgement. It's mandatory in the thesis. Ana Luiza Holme 3799-3492 on 2015-10-27T13:49:55Z (GMT) / Submitted by Maximilian-Benedikt Koehn (mb@koehn.cc) on 2015-10-29T11:50:38Z No. of bitstreams: 1 MasterThesis_FGV_MBK_Final.pdf: 1963111 bytes, checksum: 7788e02d7ef86d4824fb7f131629e4d5 (MD5) / Rejected by Ana Luiza Holme (ana.holme@fgv.br), reason: Duplicidade, Duplicity on 2015-11-03T11:55:29Z (GMT) / Submitted by Maximilian-Benedikt Koehn (mb@koehn.cc) on 2015-11-03T14:54:38Z No. of bitstreams: 1 MasterThesis_FGV_MBK.pdf: 2335793 bytes, checksum: 0ce05e9480acae0f9da905ae2e91f3ba (MD5) / Approved for entry into archive by Ana Luiza Holme (ana.holme@fgv.br) on 2015-11-03T15:13:09Z (GMT) No. of bitstreams: 1 MasterThesis_FGV_MBK.pdf: 2335793 bytes, checksum: 0ce05e9480acae0f9da905ae2e91f3ba (MD5) / Made available in DSpace on 2015-11-03T15:16:18Z (GMT). No. of bitstreams: 1 MasterThesis_FGV_MBK.pdf: 2335793 bytes, checksum: 0ce05e9480acae0f9da905ae2e91f3ba (MD5) Previous issue date: 2015-09-24 / Reviewing the definition and measurement of speculative bubbles in context of contagion, this paper analyses the DotCom bubble in American and European equity markets using the dynamic conditional correlation (DCC) model proposed by Engle and Sheppard (2001) as an econometrical - and on the other hand the behavioral finance as an psychological explanation. Contagion is defined in this context as the statistical break in the computed DCCs as measured by the shifts in their means and medians. Even it is astonishing, that the contagion is lower during price bubbles, the main finding indicates the presence of contagion in the different indices among those two continents and proves the presence of structural changes during financial crisis. / Revendo a definição e determinação de bolhas especulativas no contexto de contágio, este estudo analisa a bolha do DotCom nos mercados acionistas americanos e europeus usando o modelo de correlação condicional dinâmica (DCC) proposto por Engle e Sheppard (2001) como uma explicação econométrica e, por outro lado, as finanças comportamentais como uma explicação psicológica. Contágio é definido, neste contexto, como a quebra estatística nos DCC’s estimados, medidos através das alterações das suas médias e medianas. Surpreendentemente, o contágio é menor durante bolhas de preços, sendo que o resultado principal indica a presença de contágio entre os diferentes índices dos dois continentes e demonstra a presença de alterações estruturais durante a crise financeira.

Cette thèse étudie les différents types d'artistes-curateurs qui se manifestent depuis plus de deux siècles au moment où les artistes organisateurs d'expositions sont de plus en plus présents sur la scène artistique contemporaine. Par-delà le phénomène de mode, une vue d'ensemble des artistes-curateurs est dressée, une typologie de ceux-ci proposée. L'ensemble des réflexions et des recherches porte sur les liens entre art et réception de l'art à travers l'étude de la french theory (Gilles Deleuze, Félix Guattari, Jean-François Lyotard, Jacques Rancière, Jacques Derrida), du réalisme spéculatif (Quentin Meillassoux, Graham Harman) et de l'heccéité (Jean Duns Scot). En s'appuyant sur une étude épistémologique, les différents caractères existants de la position d'artiste-curateur sont analysés. À travers des expériences artistiques et curatoriales subjectives, la visibilité des fondements véritables de cette double pratique, assumée comme telle, est pensée. L'objectif est de rendre compte de la définition possible de l'artiste-curateur comme avant tout un créateur de lieu, de dispositifs, et d'espace d'exposition au service des autres. Les rapports qu'entretiennent les artistes avec les commissaires d'expositions sont rendus visibles, tant dans leurs relations harmonieuses que conflictuelles. Des pistes pour l'avenir se conçoivent dans le prolongement de la poétique de la relation développée par Édouard Glissant. / This thesis shows that, under various guises, the artist-curator model has been operating for more two centuries when the artists who curate exhibitions are ever more visible on the artistic scene. Across the fashion phenomenon, an overview of the more prominent artist-curators is erected, a typology of these practitioners is proposed. He particularly focuses his reflections and researches on the links between art and theory, the study of the reception of French Theory (Gilles Deleuze, Félix Guattari, Jean-François Lyotard, Jacques Rancière, Jacques Derrida), speculative realism (Quentin Meillassoux, Graham Harman) and haecceity (Jean Duns Scot). Using epistemological methodology and analyzing the state of variables, he details the various characteristics which co­exist in the artist-curator position. The author uses his own artistic and curatorial experience : he founded and curates the artist-run space Immanence. He aims to bring to life the real foundations of this double practice. The thesis posits the possible definition of the artist­curator both as the author of a creative act in place visibility and display, and simultaneously as a creator at the service of the others. At the heart, are the relationships between curated artists and artist-curator : the cooperation, consensus and correspondence, as well as the dissent and conflicts. Finally, the author looks to the possible futures drawing from the poetics of relation developed by Édouard Glissant.

Le manuscrit 2884 est un autographe du père Mersenne, unique exemplaire conservé à la bibliothèque de l’Arsenal. Cet écrit constitué en livre et chapitres est une théorie spéculative du son et des consonances inachevée. Comme le manuscrit n’a jamais été édité nous en proposons la transcription selon deux pratiques différentes, une selon le modèle de l’École nationale des Chartes et l’autre diplomatique selon le laboratoire de l’ITEM spécialisé dans les brouillons d’écriture. La transcription est complétée par des notes critiques et historiques, une table des théorèmes reconstituée, d’un index des noms propres. Le fac-simile du manuscrit est proposé dans un volume à part. Dans la première partie une étude codicologique permet de situer le manuscrit dans son aspect matériel. Une étude génétique détermine ses liens avec les imprimés du père Mersenne et retrace son parcours général de rédaction. La dernière partie de la thèse tente de cerner les motifs de son abandon par une analyse comparative avec quelques livres de l’Harmonie Universelle. Notre hypothèse de départ repose sur un changement de philosophie naturelle, passage de la philosophie aristotélicienne à la philosophie d’inspiration galiléenne. En effet nous montrons que tout le discours tenu dans le manuscrit 2884 est ontologiquement fondé dans la conception aristotélicienne alors que les mêmes sujets abordés dans l’Harmonie Universelle manifestent une rupture avec ce fondement ontologique ainsi qu’une profonde évolution de ses idées. / Manuscript 2884 is an autograph by Marin Mersenne, a unique document preserved in the Arsenal Library. This writing formed of books and chapters is an unfinished speculative theory of sound and consonance. As the manuscript has never been edited we propose a transcription following two different usages, the first according to the model of the École nationale des Chartes and the second a diplomatic transcription according to the laboratory of the ITEM (Institut des Textes et Manuscrits modernes) specializing in drafts of texts. The transcriptions are supplemented by critical and historical notes, a reconstructed table of theorems and an index of proper names. The facsimile of the manuscript is proposed in a separate volume. In the first part, a codicological study makes it possible to describe the manuscript in its material aspect. A genetic study determines its links with the printed works of Marin Mersenne and traces its general course of writing. The last part of the thesis attempts to define the reasons for its abandonment by a comparative analysis with some books of Harmonie Universelle. Our initial hypothesis supposes a change in natural philosophy, a change from Aristotelian philosophy to a philosophy of Galilean inspiration. We show that the discourse held in manuscript 2884 as a whole is ontologically based in the Aristotelian conception whereas the same subjects approached in Harmonie Universelle show a break with this ontological foundation as well as a profound evolution of Mersenne’s ideas.

Dans cette thèse, nous présentons nos contributions à Apollo (Automatic speculative POLyhedral Loop Optimizer), qui est un compilateur automatique combinant la parallélisation spéculative et le modèle polyédrique, afin d’optimiser les codes à la volée. En effectuant une instrumentation partielle au cours de l’exécution, et en la soumettant à une interpolation, Apollo est capable de construire un modèle polyédrique spéculatif dynamiquement. Ce modèle spéculatif est ensuite transmis à Pluto, qui est un ordonnanceur polyédrique statique. Apollo sélectionne ensuite un des squelettes d’optimisation de code générés statiquement, et l’instancie. La partie dynamique d’Apollo surveille continuellement l’exécution du code afin de détecter de manière dé- centralisée toute violation de dépendance. Une autre contribution importante de cette thèse est notre extension du modèle polyédrique aux codes exhibant un comportement non-linéaire. Grâce au contexte dynamique et spéculatif d’Apollo, les comportements non-linéaires sont soit modélisés par des hyperplans de régression linéaire formant des tubes, soit par des intervalles de valeurs atteintes. Notre approche permet l’application de transformations polyédriques à des codes non-linéaires grâce à un système de vérification de la spéculation hybride, combinant vérifications centralisées et décentralisées. / In this thesis, we present our contributions to APOLLO (Automatic speculative POLyhedral Loop Optimizer), which is an automated compiler combining Thread Level Speculation (TLS) and the polyhedral model to optimize codes on the fly. By doing partial instrumentation at runtime, and subjecting it to interpolation, Apollo is able to construct a speculative polyhedral model dynamically. The speculative model is then passed to Pluto -a static polyhedral scheduler-. Apollo then selects one of the statically generated code optimization skeletons and instantiates it. The runtime continuously monitors the code for any dependence violation in a decentralized manner. Another important contribution of this thesis is our extension of the polyhedral model to codes exhibiting a non linear behavior. Thanks to the dynamic and speculative context offered by Apollo, non-linear behaviors are either modeled using linear regression hyperplanes forming tubes, or using ranges of reached values. Our approach enables the application of polyhedral transformations to non-linear codes thanks to an hybrid centralized-decentralized speculation verification system

This thesis examines the relationship between Western eschatological traditions and Bishop Burchard of Worms' extended exegesis on the subject of ‘speculative theology’ within Decretum, Liber Vicesimus (c. 1012-1025). Its purpose is to explore the influence of eschatological theology upon the composition of canon law and its relationship with the administration of pastoral care in the early eleventh century. This will be achieved by investigating the authorities Burchard employed, and the unique ways in which he structured his interpretation of the subject. Chapter one reviews the scholarship on early medieval eschatological exegesis, canon law, and penance, alongside that on Burchard of Worms. Chapter two provides an overview of the history of early medieval western eschatological exegesis (c. 33-1050) and the general conditions that contemporary ecclesiastics would have experienced in relation to the study and construction of eschatological texts. Chapter three considers the historical context for the composition of the Decretum and the manuscript traditions of the Liber Vicesimus. Chapters four, five, and six, extensively analyse the structures and contents of the Liber Vicesimus: Burchard and his team of compilers are shown to have drawn extensively and developed their interpretation of eschatology from Gregory the Greats’ exegetical works, as well as identifying other unique influences. Consequently the thesis demonstrates how Gregory’s exegetical works played a central role in building the textual foundations which shaped the theological parameters governing the eschatological thoughts, beliefs, and writings, of many ecclesiastics during this period. The thesis concludes that Gregory’s work provided churchmen with an authoritative moral framework and rhetoric for the discussion of eschatological phenomena that could be utilised in a variety of ways. It also suggests new ways in which historians should interpret the written traditions that shaped the structure and content of orthodox eschatological texts in this period.

Prior to the 1960s and 1970s most studies of time undertaken in the West treated it as an objective phenomenon, devoid of ideological inscriptions. Second Wave feminists challenged this view, arguing that time is not neutral but one of the mechanisms used by patriarchal cultures to subjugate women. The argument was that temporal modes, like everything else in patriarchal reality, had been gendered. Linear time was masculine because it was associated with the male-dominated public domain in which science, commerce and production took place. The natural world, mysticism, the private domain, domesticity and women were relegated to a cyclical temporality that was gendered feminine. In her paper “Women’s Time” Julia Kristeva suggests that three generations of feminism can be identified according to the attitude each takes to time. I use her hypothesis as a framework in order to examine the positions regarding time taken up by various feminist groups during the Second Wave. I identify liberal and socialist feminisms with Kristeva’s first generation because they criticised the fact that women had been left out of linear time and the public domain and demanded that women be reinserted into linear time. I argue that Kristeva’s second generation is represented by cultural feminists of the Second Wave who recognised an alternative women’s time and suggested that women celebrate their connection with it, defying the authority of patrilinear time to dismiss “women’s experiences”. I then propose that the perspective of Kristeva’s third generation may be identified in the work of six authors of feminist speculative fiction who were writing during the Second Wave; this perspective entails a synthesis of the two previous opposing viewpoints. This can be identified in these novels because the female protagonists are first empowered through their access to an alternative (“feminine”) temporal space that subverts the authority of patriarchal culture embedded in linear time and then they move back into patrilinear time, claiming active roles and challenging patriarchal ideology. In this thesis I thus focus on the feminist examination of time during the Second Wave and consider how it was reflected in selected works of feminist speculative fiction written at the time. The authors discussed are Octavia Butler, Marge Piercy, Joanna Russ, Ursula Le Guin, Tanith Lee and Sheri Tepper. / Thesis (DLitt)--University of Pretoria, 2012. / English / unrestricted

The growing accessibility of quantum mechanics and chaos theory over the past eighty years has opened a new mode of world-creating for dramatists. An increasingly large collection of plays organize their fictional worlds around such scientific concepts as quantum uncertainty and chaotic determinism. This trend is especially noticeable within dramatic texts that emphasize a fictional, not material or metafictional, engagement. These plays construct fictional worlds that reflect the increasingly strange actual world. The dominant theoretical approaches to fictional worlds unfairly treat these plays as primarily metafictional texts, when these texts construct fictional experiences to speculate about everyday ramifications of living in a post-quantum mechanics world. This thesis argues that these texts are best understood as examples of speculative fiction drama, and they speculate about the changes to our understanding of reality implied by contemporary scientific discoveries. Looking at three plays as exemplary case studies—John Mighton’s Possible Worlds (1990), Tom Stoppard’s Arcadia (1993), and Tony Kushner’s Homebody/Kabul (2001)—this thesis demonstrates that speculative fiction theories can be adapted into fictional worlds analysis, allowing us to analyze these plays as fiction-making texts that offer nonclassical aesthetic experiences. In doing so, this thesis contributes to speculative fiction studies, fictional worlds studies, and the dynamic interdisciplinary dialogue between aesthetic and scientific discourses.