The primary purpose in this book is to present an integrated and innovative methodological approach for the construction and selection of equity portfolios. The approach takes into account the inherent multidimensional nature of the problem, while allowing the decision makers to incorporate specified preferences in the decision processes. A fundamental principle of modern portfolio theory is that comparisons between portfolios are generally made using two criteria; the expected return and portfolio variance. According to most of the portfolio models derived from the stochastic dominance approach, the group of portfolios open to comparisons is divided into two parts: the efficient portfolios, and the dominated. This work integrates the two approaches providing a unified model for decision making in portfolio management with multiple criteria.
The primary purpose in this book is to present an integrated and innovative methodological approach for the construction and selection of equity portfolios. The approach takes into account the inherent multidimensional nature of the problem, while allowing the decision makers to incorporate specified preferences in the decision processes. A fundamental principle of modern portfolio theory is that comparisons between portfolios are generally made using two criteria; the expected return and portfolio variance. According to most of the portfolio models derived from the stochastic dominance approach, the group of portfolios open to comparisons is divided into two parts: the efficient portfolios, and the dominated. This work integrates the two approaches providing a unified model for decision making in portfolio management with multiple criteria.
The author of landmark histories such as Genghis Khan, Attila, and Xanadu invites us to discover a fertile period in Asian history that prefigured so much of the world that followed. The people of the first nomadic empire left no written records, but from 200 bc they dominated the heart of Asia for four centuries, and changed the world in the process. The Mongols, today’s descendants of Genghis Khan, see these people as ancestors. Their rise cemented Chinese identity and inspired the first Great Wall. Their descendants helped destroy the Roman Empire under the leadership of Attila the Hun. We don’t know what language they spoke, but they became known as Xiongnu, or Hunnu, a term passed down the centuries and surviving today as “Hun,” and Man uncovers new evidence that will transform our understanding of the profound mark they left on half the globe, from Europe to Central Asia and deep into China. Based on meticulous research and new archaeological evidence, Empire of Horses traces this civilization’s epic story and shows how this nomadic cultures of the steppes gave birth to an empire with the wealth and power to threaten the order of the ancient world.
The Greek Revolution of 1821 exemplarily illustrates how nationalism, as a politicisation of the masses and a novel form of subsuming populations under capitalist rule, creates the nation as a demand for political rights, and yet for national ‘purity’ and for the expansion of state borders.
This volume, the first of two dealing with the Early Iron Age deposits from the Athenian Agora, publishes the tombs from the end of the Bronze Age through the transition from the Middle Geometric to Late Geometric period. An introduction deals with the layout of the four cemeteries of the period, the topographical ramifications, periodization, and a synthesis of Athens in the Early Iron Age. Individual chapters offer a complete catalogue of the tombs and their contents, a full analysis of the burial customs and funerary rites, and analyses of the pottery and other small finds. Maria A. Liston presents the human skeletal material, Deborah Ruscillo presents the faunal remains, and Sara Strack contributes to the pottery typology and catalogue. In an appendix, Eirini Dimitriadou provides an overview of the locations of burial activity in the wider city.
Arts and Politics of the Situationist International contextualizes the SI within a comprehensive aesthetic and theoretical framework that integrates its concepts and practical activities with previous critical thinkers, political activists, artists, and poets. The SI belongs to a history of radical gestures and cultural practices concerned with re-imagining everyday life and overcoming alienation. This book regards the SI as a critical interdisciplinary endeavor in the history of consciousness, particularly as a moment in an ongoing western-European trajectory of aesthetic negation dating back to the early nineteenth century. The chapters search for origins of the SI in French Symbolist poetry, Dada and Surrealism, Hegelian-Marxism, and Lefebvrian social theory in an effort to provide a clearly-defined ‘something’ out of which the SI developed as an increasingly radical collective of artists, writers, and theorists.
Athens is an historical anomaly. Excavations date its first settlement to over seven thousand years ago, yet it only became the capital of Greece in 1834. During the intervening centuries it was occupied by almost every mobile culture in Europe: from its earliest likely settlers, tribes from what is now Albania, to Nazi forces during the second World War, and in between by successive waves of Persians, Macedonians, Romans, Slavs, Goths, Venetians, French, Catalans, Turks, Italians, Bulgarians and the clans of various kings and tyrants of the region's early city-states. There has been a structure on its 'high city', the acropolis, since at least the bronze age, although it was subsequently altered by successive occupiers, becoming a fort, castle, temple, mosque, church and even a harem. its 'Golden age' peaked in the fifth century BCE, with the great building projects of Pericles and Themistocles, and its later history is one of a city already nostalgic for its past, although at a time when other European cities had yet to begin constructing a past. Its standing as the birthplace of democracy and western civilisation, while based in fact, is largely a romantic fantasy dreamt up by nineteenth-century north European artists and intellectuals: democracy has a checkered history in Athens, and 'western civilisation' was an amalgam of many cultures. The city now is a jigsaw of pieces from its past, where you can still walk along streets laid by Romans and Ottoman Turks, and where the city's population is almost constantly refreshed by newer waves of arrivals. John Gill's cultural guide explores the origins, development and contemporary face of Athens, offering an accessible analysis of its social history, architecture and representation in painting, literature and film. Looking at the role of religion, migration and popular culture, its in-depth coverage of the city, past and present, goes beyond conventional guidebooks to provide a fresh insight into its living identity.
(Theatre World). Highlights of this new Theatre World , now in its 57th year, include The Producers with Matthew Broderick and Nathan Lane, One Flew Over the Cuckoo's Nest with Gary Sinise, Judgment at Nuremberg with Maximillian Schell, Design for Livin g with Alan Cumming, 42nd Street , A Class Act and Lily Tomlin's The Search for Signs of Intelligent Life in the Universe . During the 2000-2001 season, Theatre World was awarded with a Special Tony Honor for Excellence in the Theatre. Theatre World , the statistical and pictorial record of the Broadway and Off-Broadway season, touring companies and professional regional companies throughout the United States, is a classic in its field. The book is complete with cast listings, replacements, producers, directors, authors, composers, opening and closing dates, song titles and much, much more. There are special sections with autobiographical data, obituary information and major drama awards. New features to this edition include: an introduction by editor John Willis; separate Off-Broadway and Off-Off Broadway sections; new Longest Runs listing; and an expanded Awards and Regionals section. "Nothing brings back a theatrical season better, or holds on to it more lovingly, than John Willis' Theatre World ." Harry Haun, Playbill
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