Tobit estiamtion with unknown point of censoring with an application to milk market participation in the Ethiopian highlands

Data augmentation is a powerful technique for estimating models with latent or missing data, but applications in agricultural economics have thus far been few. This paper showcases the technique in an application to data on milk market participation in the Ethiopian highlands. There, a key impediment to economic development is an apparently low rate of market participation. Consequently, economic interest centers on the “locations” of nonparticipants in relation to the market and their “reservation values” across covariates. These quantities are of policy interest because they provide measures of the additional inputs necessary in order for nonparticipants to enter the market. One quantity of primary interest is the minimum amount of surplus milk (the “minimum efficient scale of operations”) that the household must acquire before market participation becomes feasible. We estimate this quantity through routine application of data augmentation and Gibbs sampling applied to a random-censored Tobit regression. Incorporating random censoring affects markedly the marketable-surplus requirements of the household, but only slightly the covariates requirements estimates and, generally, leads to more plausible policy estimates than the estimates obtained from the zero-censored formulation

Shakespeare: from author to audience to print, 1608-1616

This essay analyses the transmission of the texts of Shakespeare's final plays, Pericles, Coriolanus, Cymbeline, The Winter’s Tale, The Tempest, Henry VIII and The Two Noble Kinsmen, from author to censor to stage to print and argues that he had refined his writing, revision and collaborative practices.

Oscar Wilde’s “The Happy Prince” : The Hidden Messages and the Debate on the Target Audience

Oscar Wilde’s fairytales have been read to children for more than a century. Nevertheless, since the time of their publication in 1888 and 1891, the target audience of The Happy Prince and Other Tales and A House of Pomegranates have been the concern of critics. Delving into the context behind the rich and colourful imagery, one can find implications of homosexuality, the Paterian aesthetic and religious connotations. According to Carol Tattersall, The Happy Prince and Other Tales successfully mislead the public that it is innocent of any intention to undermine established standards of living or writing. Tattersall’s argument is based on comparing the first collection to Wilde’s second, A House of Pomegranates, which was perceived as “offensive and immoral” (136). On the other hand, William Butler Yeats states in his introduction to The Complete Works of Oscar Wilde that overall the reviewers of The Happy Prince and Other Tales were hostile because of Wilde’s aesthetic views (ixxvi). But Yeats overlooks the fact that Wilde was very pleased and proud, dashing notes to friends and reviewers and signing copies to many people (Tattersall 129). In general, the reception of Wilde’s first collection was more positive than that of the second because it was milder and more subtle in its controversial themes.

Film som kommunikation : En studie av gymnasieungdomars filmarbete

The starting point for this work was a discussion between my supervisor and myself during my teaching training. The discussion concerned the appropriateness of allowing students make films with sexual content. Film gives young people the opportunity to express their feelings and broaden their views. If the film then disseminates to unknown people via in-ternet, which it most likely will do, maybe it is no longer so positive. The aim of this study is to shed light on various aspects of identity and ethics that are important to keep in mind when young people in school make films. These aspects are to avoid making young people vulnerable to abuse and improper influence. One aim is also to highlight the advantages of making films in school. The study is inspired by hermeneutic interpretive and based on qualitative interviews. The informants are four students at the age of 18-19 at two different schools in one municipality in Sweden.The results of the study show that it is important for the informants that the films are pro-duced in an aesthetically good way so that it appeals to the audience. Two of the infor-mants have a specific audience and make more conscious choices, so that the audience will understand what is said. The study shows that the more a filmmaker considers the audi-ence, the more consciously he or she uses film as communication. To get positive feedback is important, but it is mostly friends of the filmmakers that actually comment. To get nega-tive comments is regarded as a disadvantage when placing material on the internet. Howev-er, none of the informants in the study have received negative comments on what has been posted. The opinions about what the informants believe is inappropriate to post on inter-net or to make films about regards sexuality and violations. Earlier studies show that mate-rial can, because it is interesting to other people, become widespread. For this reason it is important for teachers to have conversations with students about their preferences and opinions on various issues. Adults need to interfere in the young people's world, while be-ing open to their opinions. Then the young people's value system will be built up and give them a safe tool that helps them to avoid improper influence.

Movies, Mind and Meaning : Studying Audience and Favourite Films

Construction of identity and meaning is becoming increasingly important in both media studies and religion scholarship. (Lövheim, 2004) Meaning construction outside traditional religion has become more interesting for religious studies and what individuals in the audience do with all messages circulated through media in everyday life has attended increasing interest within media studies (Stout and Buddenbaum, 2001). Motion pictures, soap operas and advertising are all examples of media contents which generate ideas among its audience which to a various degree are used as resources within the construction of identity (Jansson, 2001). The investigation of what modern humankind’s world views look like and what components they are composed of, in this context seems to be an important topic of investigation (Holm and Björkqvist, 1996). The ways in which the development of media has effected the daily lives of individuals is interest as is the nature of the self and the ways in which the process of self-formation is affected by the profusion of mediated materials (Thompson, 1995). Film and religion are my interest within this larger frame. The topic is not exactly new but the combination of film and religion has during the last ten years resulted in a rapidly growing number of books by scholars interested in this field (Lyden, 2003). One growing focus is on the role that films can and do play within the emerging and developing valuesystem of people in the West today (Marsh, 2004). The British theologian Clive Marsh’s point of departure is very similar to my own. Viewers bring to a film life-experience, immediate concerns and worldviews and the exploration of this interplay between movies and the interpreting process of meaning making is the very focus in this paper. Theoretically, the semeiological model of Alf Linderman is combined with cultural cognitive approaches used by a number of Scandinavian media scholars developing perspectives in audience theory (Linderman, 1996, Höijer and Werner, 1998). 13 individuals, their favourite movie and what it means to them in their life My aim is to examine how individuals comprehend film and what the meaning process look like. In this paper I present the outcome of 13 interviews with young people about their favourite film. I suggest how it is possible to interpret how they interrelate film comprehension with their personal beliefs and their culturally constructed worldview from a sociocognitive point of view. Examples of films chosen range from Disneys Lion King (1994), sciencefiction and fantasy successes like The Matrix (1999) and Lord of the Rings (2001) or the next best movie ever according to www.IMdb.com The Shawshank Redemption (1994) as well as the Swedish blockbuster Så som i himmelen (2004), aka “As in Heaven”.