28 research outputs found
The safe are rationed, the risky not – an extension of the Stiglitz-Weiss model
No full textUsing only two risk types in the Stiglitz-Weiss model it turns out that the return function for banks has to be double hump-shaped. We derive the demand for loans and the supply of loans and find that loans are provided at two interest rates in equilibrium. The safe borrowers are rationed at the lower interest rate, whereas the risky borrowers are not rationed at all. Compared to the existing literature this suggests that the more heterogenous the risk types are, the less credit is rationed. However, credit-rationing persists in equilibrium as long as we consider a discrete number of types.
To switch or not to switch - Can individual lending do better in microfinance than group lending?
No full textThese days it has been witnessed, that banks other individual loans instead of group loans and develop products based on individual liability in developing coun- tries. In order to study this surprising turn, we expand the conventional approach on decision making of individuals. A social prestige function is introduced that re- ‡ects the non-monetary impacts of group membership on the individual and on her decisions. If a borrower possesses more than a critical level of wealth, it is optimal for her to switch to individual borrowing. From a welfare perspective, a mixture of individual and group loans is desirable. However, the average borrower switches from group to individual lending too soon.
To switch or not to switch - Can individual lending do better in micronance than group lending?
No full textThese days it has been witnessed, that banks o¤er individual loans instead of
group loans and develop products based on individual liability in developing coun-
tries. In order to study this surprising turn, we expand the conventional approach
on decision making of individuals. A social prestige function is introduced that re-
‡ects the non-monetary impacts of group membership on the individual and on her
decisions. If a borrower possesses more than a critical level of wealth, it is optimal
for her to switch to individual borrowing. From a welfare perspective, a mixture
of individual and group loans is desirable. However, the average borrower switches
from group to individual lending too soon.
A Reconsideration of the Stiglitz-Weiss Model with a Discrete Number of Borrower Types
No full textIn this paper we show that the equilibrium in the Stiglitz-Weiss model (Stiglitz and Weiss, 1981) is a two-interest rate equilibrium. For this we use the true return-function for banks shown by Arnold (2005), the assumption of Bertrand competition and make a consideration for a discrete number of borrowers. Rationing only affects one group of the borrowers, i.e. the borrowers with a safe project. The risky group always receives the funds it demands.credit rationing, asymmetric information, adverse selection
A Reconsideration of the Stiglitz-Weiss Model with a Discrete Number of Borrower Types
No full textIn this paper we show that the equilibrium in the Stiglitz-Weiss model (Stiglitz and Weiss, 1981) is a two-interest rate equilibrium. For this we use the true return-function for banks shown by Arnold (2005), the assumption of Bertrand competition and make a consideration for a discrete number of borrowers. Rationing only affects one group of the borrowers, i.e. the borrowers with a safe project. The risky group always receives the funds it demands
Attitudes to the rights and rewards for author contributions to repositories for teaching and learning
No full textIn the United Kingdom over the past few years there has been a dramatic growth of national and regional repositories to collect and disseminate resources related to teaching and learning. Most notable of these are the Joint Information Systems Committee’s Online Repository for [Learning and Teaching] Materials as well as the Higher Education Academy’s subject specific resource databases. Repositories in general can hold a range of materials not only related to teaching and learning, but more recently the term ‘institutional repository’ is being used to describe a repository that has been established to support open access to a university’s research output. This paper reports on a survey conducted to gather the views of academics, support staff and managers on their past experiences and future expectations of the use of repositories for teaching and learning. The survey explored the rights and rewards associated with the deposit of materials into such repositories. The findings suggest what could be considered to be an ‘ideal’ repository from the contributors’ perspective and also outlines many of the concerns expressed by respondents in the survey
A new foundation: physical Integrity, disabled dance and cultural heritage
No full textThis is the author accepted manuscript.Introduction
Leading dance commentators have argued that ‘disability remains a marginalised and under-theorised area in dance studies’, notwithstanding advances in the growth of mixed ability dance companies, and the expansion of critical scholarship around dance and disability (Albright Copper and Brandstetter 2015:3, 5). We agree that ‘disabled dance’ is under-theorised; in the light of this we have chosen to continue to use the term ‘disabled dance’, but we stress that we do not claim that disabled dance should be seen as a distinct art-form, and certainly not a distinct genre, but as a unique and important integrated element of the dance community that deserves its place alongside any other sector within that community. Further, for as long as this is so and disabled dance lacks a philosophy to deepen understanding and knowledge of the dance and its philosophy, disabled dance will continue to evolve in fits and starts, and to be persistently at the margins of dance. [...
The Author-Performer Divide in Intellectual Property Law: A Comparative Analysis of the American, Australian, British and French Legal Frameworks
No full textWestern intellectual property frameworks have at least one feature in common: performers are less protected than authors. This situation knows many justifications, although all but one have been dismissed by the literature: performers are simply less creative than authors. As a result, the legal protection covering their work has been proportionally reduced compared to that of their authorial peers. This thesis investigates this phenomenon that it calls the 'author-performer divide'. It uncovers the culturally-rooted principles and legal reasoning that policy-makers and judges of Australia, France, the United Kingdom and the United States have developed to create in the legal narrative a hierarchy between authors and performers. It reveals that those intellectual property systems, though continuously reformed, still contain outdated conceptions of creativity based on the belief in ex nihilo creation and over-intellectualised representations of the creative process. Those two precepts combined have led legal discourse to portray performers as their authors' puppets, thus underserving of authorship themselves. This thesis reviews arguments raised against improving the performers' regime to challenge the preconception of performers as uncreative agents and questions the divide it supports. To this end, it seeks to update the representations of creativity currently conveyed in the law by drawing on the findings of other academic disciplines such as creativity research, performance theories as well as music, theatre and dance studies. This comparative inter-disciplinary study aims to move current legal debates on performers' rights away from the recurring themes and repeated arguments in the scholarship such as issues of fixation or of competing claims, all of which have made conversations stagnate. By including disciplines beyond the law, this analysis seeks to advance the legal literature on the question of performers' intellectual property protection and shift thinking about performative forms of creativity
Let's Dance! But who owns it?
No full textThis is a pre-copyedited, author-produced version of an article accepted for publication in European Intellectual Property Review following peer review. The definitive published version: Waelde, C. Whatley, S. and Pavis, M. , Let’s Dance! – but who owns it?, (2014) 36 European Intellectual Property Law Review 217, is available online on Westlaw UK or from Thomson Reuters DocDel serviceCommercialise to survive: this is one strong message being given by the Arts Council to the creative sector. In a time of tightening purse strings, so alternative modes of financial survival have to be developed which do not depend wholly on public funding. One of these may be through greater commercial exploitation of creative outputs. Dance is no exception to this policy focus. Commercial exploitation of dance would depend on the exclusive rights granted under the copyright framework. Fundamental to developing an exploitation strategy would be to identify the author and owner of the copyright in the dance. This is an area that has been underexplored in law: there is little case law or literature on dance and copyright, but there are certain assumptions within the dance community as to authorship and ownership. This paper will explore authorship and ownership of the dance using two case studies: one called Love Games choreographed by Joan Clevillé and which, in a recasting, featured the dancer, Caroline Bowditch; and one called The Two Fridas choreographed by Caroline Bowditch and which features the dancers Welly O’Brien and Kimberley Harvey. In choosing these case studies we also aim to contribute to the wider discussion about the legacy of the Unlimited Cultural Olympiad programme (Unlimited). The paper will suggest that, contrary to the views of some, the dancers are either authors of the copyright in the arrangement of the dance on their bodies, or joint authors in the work of dance. It will also suggest that through a greater audience understanding of the nature and the quality of the work, and through an appreciation of what it means to own dance, so commercial exploitation could be facilitated
Copyright and the internet : closing the gates on the public domain
No full textCan copyright survive in the digital era? Indeed, should copyright survive in the digital
era? The development of information technologies in general, and the Internet in
particular has held out the potential of unrivalled exchange of information, ideas and
creative works. Perfect digital copies of all manner of works can, at a keystroke, be sent
around the world to be received, enjoyed and used by millions. But that same potential
has brought a threat, notably for the entertainment industries (intermediaries) whose
livelihood depends on receiving a financial reward for making their works available to
consumers. How then should the promise of such digital dissemination be reconciled
with the threat for these intermediaries fearful of seeing their content distributed beyond
their control?
The answer has been to develop a raft of measures giving these intermediaries the power
to control both access to and use of the underlying work. But what of the law of
copyright? For hundreds of years that law has ensured that those same intermediaries
can control dissemination of these works, but only to a limited extent. The borders on
that power have been found in the limits that have been ascribed to the property right in
a creative work. Thus intermediaries cannot exert control over onward dissemination of
a
tangible object containing the work, at least within prescribed territories and regions;
the length of time for which protection can be claimed is limited; ideas contained within
a work are left free; a work must be original before it attracts protection; copyright in a
work is infringed only if a substantial part is copied, and a substantial part can be lawfully
copied within defined circumstances. Together these parts beyond ownership are termed
as being in the public domain.
The precise boundaries of this public domain might be difficult to describe, but the
intent within the overall framework is clear. It is not only the interests of the current
author and the intermediary that are served by the law of copyright. The public interest
is also satisfied in that a variety of new works can be created for consumption,
advancement of knowledge and information. Critically, the public domain is essential in
this process. No works are created without some reference to, and taking from, what
pre-exists. This public domain thus ensures that would-be authors have a variety of
sources on which to draw in creating anew. It is this element of the copyright framework
that appears to have been ignored in the recent legislative process.
This study traces the legislative efforts made affecting copyright in the digital era and
highlight8 the measures taken to satisfy the demands of the intermediaries. It goes on to
consider the public domain, what it is, what it is used for in the non-digitised world, and
how it is and will be affected by recent developments. It will be argued that conditions
for both access to and use of the public domain alter dramatically, critically to the
detriment of the would-be author. Given the 'new' legislative framework seems set to
govern this area in the foreseeable future, the discussion looks at ways in which the
existence of the public domain might be encouraged for the benefit of would-be authors.
Copyright should survive in the digital era, and many would argue that it does. But sadly
it would appear that one facet of the balance that has been nurtured by the law, the
public domain, will be left to be developed by self regulatory mechanisms, rather than
being guarded by the legislature
