Free Flows, Limited Diversification: Explaining the Fall and Rise of Stock Market Correlations, 1890-2001

Using a new dataset on capital account openness, we investigate why equity return correlations changed over the last century. Based on a new, long-run dataset on capital account regulations in a group of 16 countries over the period 1890-2001, we show that correlations increase as financial markets are liberalized. These findings are robust to controlling for both the Forbes-Rigobon bias and global averages in equity return correlations. We test the robustness of our conclusions, and show that greater synchronization of fundamentals is not the main cause of increasing correlations. These results imply that the home bias puzzle may be smaller than traditionally claimed.

Tennessee Williams's Cat on a hot tin roof or the dramatic aptitudes of the goddess Diana

The aim of this article is to show which are the dramatic "yields" of the inclusion of the reference to the goddess Diana in Tennessee Williams's Cat on a Hot tin Roof. In the author's opinion, it does not deal simply with a meaningful reference; on the contrary, the accurate analysis of Williams's text proves that it is a true nuclear and cohesive element of the whole drama.

Cinema Roads to the Platonic Image of the Cave

The aim of this article is to prove the real possibility of travelling intellectually to the Platonic image of the cave from different films. In this sense, one can speak of explicit references as in The Conformist by B. Bertolucci or in Shadowlands by R. Attenborough -if one bears in mind the Chronicles of Narnia by C. S. Lewis- or The Picture of Dorian Gray ¿if one bears in mind the well-known O. Wilde¿s novel-, but, on other occasions, although the Platonic influence cannot be proved, for instance in The Truman Show, A Room with a View or Brideshead Revisited, one can perfectly think of these films in order to guide the contemporary audiences to that Platonic image, since Plato himself affirms that it deals with an image which can be easily applied and, in first place, to his idealistic philosophy.

The Cave by José Saramago: Platonic image versus metaphysics

The cave by José Saramago has as a certain reference the image of the cave of book VII of Plato's Republic and, however, Saramago is not an idealistic or metaphysical writer. This article, taking advantage of the applicability with which Plato endowed his image, defends the urge to be open to the messages sent by the earth, by matter, the urge not to become prisoners in the golden caves of the Western society and, finally, the urge to find our freedom in Nature, phýsis, and not far or beyond, metá, it.

The "image" of the cave and the constant temptation to correct Plato: Benjamin Jowettt as an example

Translations of the first chapters of Book VII of Plato's Republic, in which he introduces the well-known image of the cave, eikón, reveals an astonishing and intriguing variety of interpretations of this image: "allegory", "myth", "fable", "parable", "simile" and "comparison", to cite but a few. Taking as an example the work by Benjamin Jowett, the Victorian translator of Plato, remarkable for its textual accuracy and by means of a close analysis of the terms related to the image, this paper insists on the need to neither interpret nor correct the great ideal philosopher, in this case revealing some evident contradictions that arise when this advice is not followed and pointing out the occasional use of terms extraneous to the Platonic lexicon such as "allegory".

Leaving the cave in search of life (A Platonic reading of R. Sirera's La caverna (The Cave)

The aim of this article is to show how a contemporary playwright thinks once more of the Platonic image of the cave in order to reflect on the necessary existential journey of men and women as in the case of a Bildungsroman. Sooner or later men and women must abandon the protection that any sort of cavern such as home, the family garden or family itself can offer. In spite of writing from a by no means idealistic or metaphysical point of view, thanks to R. Sirera and to the very applicability of Platonic images, Plato becomes once again a classical reference which is both useful and even unavoidable if one bears in mind the Platonic origin of all the literary caverns.

Indagación edípica e ironía trágica: el modelo sofocleo en Cat on a Hot Tin Roof de Tennessee Williams

Dado que el referente clásico "Edipo en busca de su identidad" ha sido siempre reconocido para Suddenly Last Summer , el autor de este artículo, mediante un análisis minucioso del texto del dramaturgo americano, propone leer en este caso Cat on a Hot Tin Roof desde el modelo Edipo Rey de Sófocles y descubrir en él igualmente la tradicional ironía clásica tanto desde el punto de vista del espectador como de los mismos personajes principales, Brick y su padre, ambos en busca de su verdad, una verdad, claro está, contraria a la esperada.

Indagació edípica i ironia tràgica: el model sofocleu a Cat on a Hot Tin Roof de Tennessee Williams

Atès que el referent clàssic "Èdip en cerca de la seva identitat" ha estat sempre reconegut per a Suddenly Last Summer, l'autor d'aquest article, mitjançant una anàlisi acurada del text del dramaturg americà, proposa de llegir en aquest cas Can on a Hot tin Roof des del model Èdip Rei de Sòfocles i descobrir-hi igualment la tradicional ironia clàssica tant des del punt de vista de l'espectador com dels mateixos personatges principals, Brick i el seu pare, ambdós en cerca de la seva veritat, una veritat, és clar, contrària a la que esperaven.

Cat on a hot tin roof de Tennessee Williams o les aptituds dramàtiques de la deessa Diana

L'objectiu d'aquest article és mostrar quins són els rèdits dramàtics de la inclusió de la referència a la deessa Diana a Cat on a Hot Tin Roof de Tennessee Williams. En opinió del autor, no es tracta simplement d'una referència significativa, sinó que l'anàlisi acurada del text de Williams demostra que és un element vertaderament nuclear i cohesionador de tot el drama.

Cat on a hot tin roof de Tennessee Williams o las aptitudes dramáticas de la diosa Diana

El objetivo de este artículo es mostrar cuáles son los réditos dramáticos de la inclusión de la referencia a la diosa Diana en Cat on a Hot Tin Roof de Tennessee Williams. En opinión del autor, no se trata simplemente de una referencia significativa, sino que el análisis minucioso del texto de Williams demuestra que es un elemento verdaderamente nuclear y cohesionador de todo el drama.

Mysids from a submarine cave emerge each night to feed

The nycthemeralmigration of Hemimysis speluncola Ledoyer (1963) (Crustacea: Mysidacea)from a western Mediterranean cave to the open sea was studied in July andSeptember 1985 and September 1986. Light was the initiating factor. Feeding isthe main activity outside the cave. A mixture of assorted small organisms anddetritus makes up the mysids diet.

Fecal pellets collection as a method for assessing egesta of the marine cave-dwelling mysid Hemimysis speluncula

Egesta of a cave-dwelling mysid (Hemimysis speluncola Ledoyer, 1963) was studied in a submarine cave of Medes Islands, NW Mediterranean by in situ fecal pellet collecting. Fecal pellet production and gut fullness of mysids during incubation experiments are used to estimate mysid egestion rates. Intrinsic factors related with the natural history of this species such as population structure, density of mysids, daily rhythms and pellet decomposition rates are tested for their influence on the egestion rate. The effects of methodological artifacts, such as the stress induced by both incubation and preservation procedures, are also studied. An average mysid egests about 2.5 pellets per day into the cave. The time of day is the main factor affecting egestion. The highest deposition rate is between 2 to 4 hours after sunrise when about 38 % of the total daily pellet production becomes egested. Fecal pellet morphology changes with mysid demographic classes: immature mysids produce slender and thick pellets, whereas mature mysids produce only thick pellets. Immature classes show higher percentages of full guts than mature ones. Mysid density in the incubators does not affect the results on gut fullness, but it causes a decrease in the number of pellets collected after incubation. Coprorhexia seems to be the only plausible process to explain this paradox. The incubation procedure does not increase deposition rate significantly. Time of incubation is critical because the half-life of fecal pellets is about 2.5 hours. Fixation with liquid nitrogen decreases gut fullness and also deposition rates. Higher values are obtained with 70 % ethanol and 5 % formalin solutions which show very similar results for both gut fullness and pellet deposition rates. Nevertheless, ethanol is not suitable as fixative because it enhances the opacity of the body. Several suggestions are given in order to optimize the reliability of further in situ experiments for evaluation of egesta of Hemimysis speluncola in submarine caves.

The cave (La caverna -1952-1969) by Josep Palau i Fabre: theatre versus philosophical allegory in order both to perform and stop the tragic and dark end of the bright art of thinking

What is the use of representing in performance the image of the cave from book VII of Plato’s Republic? Josep Palau i Fabre considers that in Plato’s dialogues the speakers are mere instruments at the service of his dialectical purpose. The aim of this article is to show how, by turning the myth into a tragedy and relying on Heraclitus’s conflict or war of opposites, the playwright succeeds in favouring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre’s La Caverna, the tragic hero, the released prisoner transformed by the light of Reality and finally killed by his “cavemates” –after having been imprisoned again and having tried to rescue them from their ignorance or shadows– still leaves them his powerful experience of the agonistikós thought, which might bear fruit in their life to come.