LEADER 04543oam 2200493 450 001 9910815728603321 005 20190911112729.0 010 $a981-4452-48-3 035 $a(OCoLC)869905597 035 $a(MiFhGG)GVRL8RCP 035 $a(EXLCZ)992550000001168295 100 $a20140409h20142014 uy 0 101 0 $aeng 135 $aurun|---uuuua 181 $ctxt 182 $cc 183 $acr 200 10$aEvolving roles of sovereign wealth managers after the financial crisis $epast, present and future /$fBernard Lee, HedgeSPA Pte. Ltd., Singapore & Santa Clara University, California, USA 210 1$aNew Jersey :$cWorld Scientific,$d[2014] 210 4$d?2014 215 $a1 online resource (xix, 101 pages) $cillustrations 225 0 $aGale eBooks 300 $aDescription based upon print version of record. 311 $a981-4452-47-5 311 $a1-306-18310-3 320 $aIncludes bibliographical references and index. 327 $aPreface; Acknowledgments; Contents; List of Figures; List of Tables; 1. Overview; 1.1 Are SWFs Potential Causes for Concern?; 1.2 Research on SWF Investing; 1.3 Implications to Global Imbalances; 1.4 Should there be Structural Solutions prior to Launching Rescue Attempts?; 1.4.1 Restoration of Gold Standard; 1.4.2 "Printing Money" Ad Infinitum; 1.4.3 Issuing an Alternative Trading Currency; 1.5 Can Sovereign Wealth Funds Save the Global Economy?; 1.5.1 SWF Performance Objectives; 1.5.2 Intervening in a Financial Crisis; 1.6 Potential Policy Implications; 1.7 Summary; 2. Past Realities 327 $a2.1 Brief History of Sovereign Wealth Management2.1.1 General Landscape; 2.1.2 Excess Reserve Accumulation; 2.1.3 "Free" Market Capitalism; 2.1.4 Rescuer of Last Resort; 2.1.5 Alpha and Size; 2.1.6 Non-Investment Considerations; 2.2 Factors Impacting Investing Behavior; 2.2.1 Assets Under Management; 2.2.2 Investment Objectives and Performance Benchmarks; 2.2.3 Constraints and Regulations; 2.2.3.1 Investment Constraints; 2.2.3.2 Regulations; 2.3 Risk and Performance Analysis; 2.3.1 Return Analysis Example - Norway Government Pension Fund; 2.3.2 Risk Analysis Example - Temasek Holdings 327 $a2.3.3 Practical Allocation Between Active and Passive Portfolios2.4 Summary; 3. Evolving Roles; 3.1 Introduction; 3.1.1 Motivation; 3.1.2 Recap on the Lee (2006) Approach; 3.1.3 Roadmap; 3.2 Abstract Model of Global Economy; 3.2.1 Basic Descriptions; 3.2.2 Country A - Rich in Resources; 3.2.3 Country B - Rich in Labor; 3.2.4 Country C - Rich in Intellectual Properties/Innovation; 3.2.5 Analysis in the Absence of Policy Actions; 3.3 Potential Outcomes of Policy Interventions; 3.3.1 Intervention Policy 1 - Restoration of a Gold Standard 327 $a3.3.2 Intervention Policy 2 - "Printing Money" Ad Infinitum3.3.3 Intervention Policy 3 - Issuing Alternative Trading Currencies; 3.4 Implications to SWF Investing; 3.4.1 SWF Asset Allocation in Typical Markets; 3.4.2 SWF Allocation under Market in Distress; 3.4.3 SWF Participation in Rescue Efforts; 3.5 Summary; 4. Future Directions; 4.1 Evolving Global Financial Landscape; 4.1.1 Euro Crisis in Slow Motion; 4.1.2 Impacts on Third-Party Bystanders; 4.2 Thinking Ahead; 4.2.1 Scenario 1 - Default of Major Debt Issuer; 4.2.2 Scenario 2 - Mass Hoarding of Commodities 327 $a4.2.3 Scenario 3 - Conflicts in East Asia4.3 Investment Policy Implications; 4.3.1 Surplus Countries; 4.3.2 Deficit Countries; 4.3.3 New Gold Standard; 4.4 Summary; 5. Conclusions; Bibliography; Index 330 $aConsider these phenomena: Savers at surplus countries are often ""penalized"" by astronomical consumer prices, while spenders at debtor countries enjoy bargain basement prices; Silicon Valley continues to be the global leader in R&D and innovation despite chaos in public finance; and; Surplus countries worry about holding potentially worthless IOUs issued by elected debtor governments. In this book, Professor Lee has tried to better understand sovereign wealth management in the context of saver and debtor countries, by presenting a unified model that can explain these observed phenomena. His a 606 $aSovereign wealth funds 606 $aWealth 615 0$aSovereign wealth funds. 615 0$aWealth. 676 $a336.15 700 $aLee$b Bernard$015549 801 0$bMiFhGG 801 1$bMiFhGG 906 $aBOOK 912 $a9910815728603321 996 $aEvolving roles of sovereign wealth managers after the financial crisis$93942199 997 $aUNINA LEADER 06306nam 2200757 a 450 001 9910563183203321 005 20200520144314.0 010 $a9783465135098 010 $a3465135091 035 $a(CKB)2670000000334328 035 $a(EBL)1363682 035 $a(SSID)ssj0000986168 035 $a(PQKBManifestationID)11515197 035 $a(PQKBTitleCode)TC0000986168 035 $a(PQKBWorkID)10933031 035 $a(PQKB)11238036 035 $a(MiAaPQ)EBC1363682 035 $a(OCoLC)608480591 035 $a(WaSeSS)Ind00074883 035 $a5460b47a-d7e8-4be8-95f2-304bb0dd2d03 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/30855 035 $a(ScCtBLL)48606602-ae33-422d-a4ad-958b22a099b3 035 $a(OCoLC)848220888 035 $a(oapen)doab30855 035 $a(EXLCZ)992670000000334328 100 $a20070312d2007 uy 0 101 0 $ager 135 $aurmn#---uuuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aVon illusionarer Wirklichkeit und wahrer Illusion $ezu Carlo Gozzis Fiabe teatrali /$fSusanne Winter 205 $a1., Aufl. 210 $aFrankfurt am Main $cV. Klostermann$dc2007 215 $a1 online resource (358 pages) $cdigital, PDF file(s) 225 1 $aAnalecta romanica,$x0569-986X ;$vHeft 73 300 $aPublicationDate: 20070101 311 08$aPrint version: 9783465035091 320 $aIncludes bibliographical references (p. 341-353) and index. 327 $aInhalt -- Einleitung -- 1. Kontroversen und Kontraste -- 2. Die "Fiabe teatrali" - Konstituenten und Strukturen -- 3. Die "Fiabe teatrali" im italienischen Theaterkontext -- 4. Die "Fiabe teatrali" als ma?rchenhaft maskierte Aufkla?rungskritik. 330 $aVenedig war im 18. Jahrhundert nicht nur ein Zentrum des Theatergeschehens, sondern zugleich Mittelpunkt lebendiger Theaterdiskussionen. Der sogenannte venezianische Theaterstreit mit den Protagonisten Carlo Goldoni und Carlo Gozzi erscheint in der Literatur- und Theatergeschichtsschreibung vielfach in Form einer vereinfachenden Reproduktion der Polemik. Das u?berwiegend kritisch-negative Gozzi-Bild korreliert mit einer einseitigen Hochscha?tzung Goldonis und der von ihm propagierten Theaterreform, wird dagegen Gozzi als Retter der Commedia dell ?arte verehrt, gilt Goldoni als ihr Totengra?ber. Die vorliegende Studie versucht, derartige Vorurteile aufzubrechen und Carlo Gozzis Fiabe teatrali als veritablen Gegenentwurf zu Goldonis Komo?dien und zum aufkla?rerischen Drama zu verstehen. Auf dem Hintergrund des italienischen Theaterkontexts im 18. Jahrhundert und der venezianischen Theaterszene der Zeit treten die Besonderheit der Ma?rchenstu?cke und das Anliegen Gozzis deutlich zutage. Mit den Grundkonstituenten Ma?rchen und Commedia dell ?arte wenden sich die Fiabe teatrali gegen ein Theater, das die Wirklichkeitsna?he betont und einen Nu?tzlichkeitsanspruch verfolgt. Die Verbindung der wirklichkeitsfernen Elemente erfolgt in einer Art ars combinatoria, die auf Kontraststrukturen basiert und den artifiziellen Charakter unterstreicht. Damit tritt die Autonomie der theatralen Wirklichkeit hervor, und die Einbildungskraft wird zum entscheidenden Faktor. Das Ma?rchenhafte wird allerdings zweifach an die Erfahrungswirklichkeit ru?ckgebunden: zum einen finden sich in der Maskenrede direkte Verweise auf die nicht-theatrale Wirklichkeit, zum anderen scheinen in der Bu?hnenillusion Wahrheiten auf, die in der diskursiven Diskussion verborgen bleiben. So ero?ffnet das neue dramatische Genus der Fiabe teatrali die Mo?glichkeit, auf den Konstruktcharakter von Wirklichkeit hinzudeuten und die Problematik der Erkenntnis von Wahrheit in Szene zu setzen. 330 $aIn the eighteenth century, Venice was not only a center of theatre life but also a center for discussion about theatre. In literary and theatre history the well-known Venetian theatrical dispute, with its protagonists Carlo Goldoni and Carlo Gozzi, seem to provoke a simplistic reproduction of the polemics. A predominantly negative image of Gozzi is correlated with an appreciation of Goldoni and his dramaturgical reform, whereas while Gozzi is considered the savior of the commedia dell ?arte, Goldoni appears as ist grave-digger. This study tries to break open such prejudice, reading Gozzi ?s "Fiabe teatrali" as a veritable counterpoint to Goldoni ?s comedies and Enlightenment drama. Against the background of Italian theatre in the 18th century and contemporary Venetian theatricality, Gozzi ?s intention, as well as the special characteristics of his tales for the theatre, becomes evident. Using fairy tales and commedia dell ?arte as basic constituents for his "Fiabe teatrali", Gozzi responds to a theatre that emphasizes the reflection of everyday life and follows the concept of utility. The combination of elements are distanced from reality in a way that resembles an ars combinatoria, based on a structure of contrasts that underlines its artificial character. This displays the autonomy of theatrical reality and the importance of imagination. However, the fairy tale illusion refers back to reality in two ways: on the one hand the traditional masks comment directly current events, on the other hand theatrical illusion indirectly reveals truth that remains secret in discourse. As a new dramatic genre the "Fiabe teatrali" open the possibility to reflect on the constructed character of reality and to set on stage the problematic nature of the perception of truth. 410 0$aAnalecta romanica ;$vHeft 73. 606 $aHumanities$2bicssc 610 $aCarlo Gozzi 610 $acommedia dell´arte 610 $aEnligthenment 610 $afairy tales 610 $aHarlekin 610 $aillusion 610 $aItalian theatre 610 $aMärchen 610 $aPantalone 610 $aPolemik 610 $aTheologische Realenzyklopädie 610 $aVenedig 615 7$aHumanities 676 $a852.6 700 $aWinter$b Susanne$0323946 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910563183203321 996 $aVon illusionärer Wirklichkeit und wahrer Illusion$91803168 997 $aUNINA