This book is the Proceedings of the International Workshop on Finance 2011, held in Kyoto in the summer of 2011 with the aim of exchanging new ideas in financial engineering among researchers from various countries from both academia and industry. The workshop was held as a successor to the Daiwa International Workshop (2004OCo2008), and the KIER-TMU International Workshop (2009OCo2010). This workshop was organized by the Center for Advanced Research in Finance (CARF), Graduate School of Economics, the University of Tokyo, and Graduate School of Social Sciences, Tokyo Metropolitan University OCo and co-organized by Life Risk Research Center, Doshisha University. The workshop serves as a bridge between academic researchers and practitioners. This book contains about fifteen papers, all refereed, representing the presentations at the workshop. The papers address state-of-the-art techniques in financial engineering.
This book is the Proceedings of the International Workshop on Finance 2011, held in Kyoto in the summer of 2011 with the aim of exchanging new ideas in financial engineering among researchers from various countries from both academia and industry. the workshop was held as a successor to the Daiwa International Workshop (2004–2008), and the KIER-TMU International Workshop (2009–2010). This workshop was organized by the Center for Advanced Research in Finance (CARF), Graduate School of Economics, the University of Tokyo, and Graduate School of Social Sciences, Tokyo Metropolitan University — and co-organized by Life Risk Research Center, Doshisha University.The workshop serves as a bridge between academic researchers and practitioners.This book contains about fifteen papers, all refereed, representing the presentations at the workshop. the papers address state-of-the-art techniques in financial engineering.
This book contains the proceedings of the KIER-TMU International Workshop on Financial Engineering 2010, which was held in Tokyo, in order to exchange new ideas in financial engineering among industry professionals and researchers from various countries. It has been held for two consecutive years since 2009, as a successor to the Daiwa International Workshop, which was held from 2004 to 2008, and is organized by the Institute of Economic Research of Kyoto University (KIER) and the Graduate School of Social Sciences of Tokyo Metropolitan University (TMU).The workshop serves as a bridge between academic researchers and practitioners. This book consists of eleven papers ? all refereed ? representing or related to the presentations at the workshop. The papers address state-of-the-art techniques in financial engineering. The Proceedings of the 2009 workshop was also published by World Scientific Publishing.
Zen art poses a conundrum. On the one hand, Zen Buddhism emphasizes the concept of emptiness, which among other things asserts that form is empty, that all phenomena in the world are illusory. On the other hand, a prodigious amount of artwork has been created in association with Zen thought and practice. A wide range of media, genres, expressive modes, and strategies of representation have been embraced to convey the idea of emptiness. Form has been used to express the essence of formlessness, and in Japan, this gave rise to a remarkable, highly diverse array of artworks and a tradition of self-negating art. In this volume, Yukio Lippit explores the painting The Gourd and the Catfish (ca. 1413), widely considered one of the most iconic works of Japanese Zen art today. Its subject matter appears straightforward enough: a man standing on a bank holds a gourd in both hands, attempting to capture or pin down the catfish swimming in the stream below. This is an impossible task, a nonsensical act underscored by the awkwardness with which the figure struggles even to hold his gourd. But this impossibility is precisely the point.
Zen art poses a conundrum. On the one hand, Zen Buddhism emphasizes the concept of emptiness, which among other things asserts that form is empty, that all phenomena in the world are illusory. On the other hand, a prodigious amount of artwork has been created in association with Zen thought and practice. A wide range of media, genres, expressive modes, and strategies of representation have been embraced to convey the idea of emptiness. Form has been used to express the essence of formlessness, and in Japan, this gave rise to a remarkable, highly diverse array of artworks and a tradition of self-negating art. In this volume, Yukio Lippit explores the painting The Gourd and the Catfish (ca. 1413), widely considered one of the most iconic works of Japanese Zen art today. Its subject matter appears straightforward enough: a man standing on a bank holds a gourd in both hands, attempting to capture or pin down the catfish swimming in the stream below. This is an impossible task, a nonsensical act underscored by the awkwardness with which the figure struggles even to hold his gourd. But this impossibility is precisely the point.
From one of Japan's greatest modern writers comes an exquisitely disturbing novel of sexual combat and concealed passion, a work that distills beauty, longing, and loathing into an intoxicating tale. • “One of the outstanding writers of the world.” —The New York Times An aging, embittered novelist sets out to avenge himself on the women who have betrayed him. He finds the perfect instrument in Yuichi, a young man whose beauty makes him irresistible to women but who is just discovering his attraction to other men. As Yuichi's mentor presses him into a loveless marriage and a series of equally loveless philanderings, his protégé enters the gay underworld of postwar Japan where Yuichi is defenseless as any of the women he preys upon.
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