124 resultados para Volatilità implicita, formula di Black and Scholes
em Brock University, Canada
Resumo:
The monoconjugates of phenolic acids (i.e. coumaric acid) with polyamines such as spermidine and spermine are strikingly similar to some toxins from spiders and predatory wasps. Many plants contain phenolic acid polyamine conjugates and there is some reliable information supporting their roles as plant defense chemicals. Eleven monoacylated compounds of diamines, triamines, tetraamines and oxa-polyamine amines were prepared in three to seven steps: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31 and 32. The synthesis proceeds through stepwise construction of the polyamine backbone (as in 62 and 72), followed by protection and deprotection steps of the amino functions. Desymmetrization of readily available and prepared symmetrical polyamines is a key step in the synthesis. The protecting groups employed were tert-butoxycarbonyl (BOC) and trifluoroacetyl (TFA) group which were removed under different conditions: acid and base respectively. Deprotection and refunctionalization of the polyamine reagent demonstrated the versatility of these systems for N-acylation.
Resumo:
This is a study of education students’ conceptions of and experiences with academic stress and help-seeking. The study explored teacher education and Master of Education students’ academic stress by examining causes of academic stress and how these stressors affect students’ academic and university experiences. Stress-related help-seeking was also a focus of this study, and was explored using inquiries regarding where participants sought stress-related support. Additionally, exploring students’ use of the Internet for stress-related information or support was a goal of this study. These research goals were pursued using a qualitative methodology that applied grounded theory design. Consequently, data were used to develop a theory that would contribute to existing literature. Specifically, participant descriptions related to causes of and responses to academic stress aligned with Maslow’s (1954) theory of human motivation and Alderfer’s (1969) E. R. G. theory, and led to theoretical contributions that took a hierarchy of student needs and motivation into consideration.
Resumo:
The topic of this thesis is marginaVminority popular music and the question of identity; the term "marginaVminority" specifically refers to members of racial and cultural minorities who are socially and politically marginalized. The thesis argument is that popular music produced by members of cultural and racial minorities establishes cultural identity and resists racist discourse. Three marginaVminority popular music artists and their songs have been chosen for analysis in support of the argument: Gil Scott-Heron's "Gun," Tracy Chapman's "Fast Car" and Robbie Robertson's "Sacrifice." The thesis will draw from two fields of study; popular music and postcolonialism. Within the area of popular music, Theodor Adorno's "Standardization" theory is the focus. Within the area of postcolonialism, this thesis concentrates on two specific topics; 1) Stuart Hall's and Homi Bhabha's overlapping perspectives that identity is a process of cultural signification, and 2) Homi Bhabha's concept of the "Third Space." For Bhabha (1995a), the Third Space defines cultures in the moment of their use, at the moment of their exchange. The idea of identities arising out of cultural struggle suggests that identity is a process as opposed to a fixed center, an enclosed totality. Cultures arise from historical memory and memory has no center. Historical memory is de-centered and thus cultures are also de-centered, they are not enclosed totalities. This is what Bhabha means by "hybridity" of culture - that cultures are not unitary totalities, they are ways of knowing and speaking about a reality that is in constant flux. In this regard, the language of "Otherness" depends on suppressing or marginalizing the productive capacity of culture in the act of enunciation. The Third Space represents a strategy of enunciation that disrupts, interrupts and dislocates the dominant discursive construction of US and THEM, (a construction explained by Hall's concept of binary oppositions, detailed in Chapter 2). Bhabha uses the term "enunciation" as a linguistic metaphor for how cultural differences are articulated through discourse and thus how differences are discursively produced. Like Hall, Bhabha views culture as a process of understanding and of signification because Bhabha sees traditional cultures' struggle against colonizing cultures as transforming them. Adorno's theory of Standardization will be understood as a theoretical position of Western authority. The thesis will argue that Adorno's theory rests on the assumption that there is an "essence" to music, an essence that Adorno rationalizes as structure/form. The thesis will demonstrate that constructing music as possessing an essence is connected to ideology and power and in this regard, Adorno's Standardization theory is a discourse of White Western power. It will be argued that "essentialism" is at the root of Western "rationalization" of music, and that the definition of what constitutes music is an extension of Western racist "discourses" of the Other. The methodological framework of the thesis entails a) applying semiotics to each of the three songs examined and b) also applying Bhabha's model of the Third Space to each of the songs. In this thesis, semiotics specifically refers to Stuart Hall's retheorized semiotics, which recognizes the dual function of semiotics in the analysis of marginal racial/cultural identities, i.e., simultaneously represent embedded racial/cultural stereotypes, and the marginal raciaVcultural first person voice that disavows and thus reinscribes stereotyped identities. (Here, and throughout this thesis, "first person voice" is used not to denote the voice of the songwriter, but rather the collective voice of a marginal racial/cultural group). This dual function fits with Hall's and Bhabha's idea that cultural identity emerges out of cultural antagonism, cultural struggle. Bhabha's Third Space is also applied to each of the songs to show that cultural "struggle" between colonizers and colonized produces cultural hybridities, musically expressed as fusions of styles/sounds. The purpose of combining semiotics and postcolonialism in the three songs to be analyzed is to show that marginal popular music, produced by members of cultural and racial minorities, establishes cultural identity and resists racist discourse by overwriting identities of racial/cultural stereotypes with identities shaped by the first person voice enunciated in the Third Space, to produce identities of cultural hybridities. Semiotic codes of embedded "Black" and "Indian" stereotypes in each song's musical and lyrical text will be read and shown to be overwritten by the semiotic codes of the first person voice, which are decoded with the aid of postcolonial concepts such as "ambivalence," "hybridity" and "enunciation."
Resumo:
The purpose of this project was to identify in a subject group of engineers and technicians (N = 62) a preferred mode of representation for facilitating correct recall of information from complex graphics. The modes of representation were black and white (b&w) block, b&w icon, color block, and color icon. The researcher's test instrument included twelve complex graphics (six b&w and six color - three per mode). Each graphics presentation was followed by two multiple-choice questions. Recall performance was better using b&w block mode graphics and color icon mode graphics. A standardized test, the Group Embedded Figures Test (GEFT) was used to identify a cognitive style preference (field dependence). Although engineers and technicians in the sample were strongly field-independent, they were not significantly more field-independent than the normative group in the Witkin, Oltman, Raskin, and Karp study (1971). Tests were also employed to look for any significant difference in cognitive style preference due to gender. None was found. Implications from the project results for the design of visuals and their use in technical training are discussed.
Resumo:
An undated black and white studio portrait of Rev. and Mrs. Wright and family presented to Mrs. Mary Bell. The photograph is mounted in a decorative board frame and bears the handwritten inscription "Mrs. Mary Bell from Mrs. and Rev. Wright" on the reverse. This photograph was included in memorabilia owned by the Richard Bell family of St. Catharines, Ontario.
Resumo:
Charles Bell is pictured in this black and white undated photograph with his horse and cart. Mr. Bell ran an ice and coal business on Geneva St. in St. Catharines, Ontario. This photograph was in the possession of the Rick Bell family, of St. Catharines.Handwritten inscription on the reverse reads: "Grandpa Charles Bell ran ice and coal business, Geneva St. St. Catharines"
Resumo:
A black and white snapshot of Albert and Josie Sloman, with Shirley and Bert Sloman. The date recorded on the back of the photograph is May 24, 1942, possibly the Victoria Day weekend. The location appears to be the Oakes Garden Theatre in Niagara Falls. This photograph was in the possession of the Rick Bell family, of St. Catharines, whose ancestors include former Black slaves from the United States.
Resumo:
A black and white photograph of Lizzie Sloman, with two men identified on the reverse as Ab (left) and son (right). The photograph is not dated but is recorded as being taken in London, Ontario. It appears the photo marks some occasion, as one gentleman is in full uniform, while the other is wearing a corsage. This photograph was in the possession of Rick Bell, of St. Catharines, whose mother was born a Sloman.
Resumo:
An undated black and white photograph of Lizzie and Sid Sloman, taken outside a home in London, Ontario. This photo was in the possession of Rick Bell, of St. Catharines, whose mother was Iris Sloman Bell. The Sloman - Bell family ancestry includes escaped slaves from the United States who settled in southern Ontario.
Resumo:
This undated black and white family snapshot shows Albert and Josie Sloman (at left) with their daughter, Iris Sloman Bell (third from left) and an unidentified woman in the vegetable garden. The location of the garden is not clear, although it could be St. Catharines or London, Ontario. This photograph was in the possession of Rick Bell, of St. Catharines, whose mother was Iris Sloman Bell. The Sloman - Bell family ancestry includes former Black slaves from the United States who settled in Canada.
Resumo:
Josephine and Albert Sloman are pictured in this undated black and white photograph. The beach location is unknown. This photo was among the Sloman - Bell family memorabilia in the possession of Rick Bell, grandson of Josephine and Albert. The family is descended from Black slaves who escaped from the United States and settled in southern Ontario.
Resumo:
Roy and Shirley (Sloman) Johnson pose in this black and white photograph set in an unknown location. The Sloman - Bell ancestry includes former Black slaves from the United States who escaped to Canada.Roy Johnson is believed to be the man who donated the tank to the Lake St. Armoury in St. Catharines, Ontario.
Resumo:
This black and white family photo is undated yet believed to be in 1939 on the wedding day of Richard and Iris Bell. Pictured in this photo are, from right, Vera, Richard Bell, Iris Sloman Bell, and Bert Sloman. This photo was in the possession of Rick Bell, of St. Catharines, son of Richard and Iris. The Bell - Sloman families have descendants who are former African American slaves.Bert Sloman (Albert Edward Sloman) passed away in 1986 at Kitchener - Waterloo, Ontario. His wife, Vera Matilda Sloman, passed away January 4, 2011 at Cambridge Memorial Hospital. They had a son, Ron Sloman.
Resumo:
Lizzie Sloman is pictured with her son, not identified by name, in this undated black and white photograph. The location of the photograph is also unknown. This item was in the possession of Rick Bell, of St. Catharines, whose mother Iris Sloman Bell, was sister to Lizzie.
Resumo:
This unhappy looking young girl is featured in an early black and white tintype photograph. The date, location and name of the photographer are unknown. This small tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell families have descendants who are former slaves from the United States."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html