Can risk-based deposit insurance premiums control moral hazard?

Deposit insurance ; Risk

Regulating bank capital structure to control risk

Bank capital ; Risk

A primer on moral-hazard models

Bank supervision

Analysis of Clamped Square Plates Containing Openings with Stiffened Edges

National Science Foundation Grant No. G-657

Changes in the size distribution of U.S. banks: 1960-2005

Banks and banking

Bank capital regulation with and without state-contingent penalties

A moral hazard model with exogenous bank franchise value is used to analyze bank capital regulation. Banks choose their capital structure as well as the riskiness and mean of their portfolio. The portfolio mean is determined by the level of costly screening. Screening and portfolio risk are private information, so there are two dimensions to the moral hazard problem. Deposit insurance gives banks an incentive to hold less capital, and to choose a higher-risk, lower-mean portfolio. To mitigate these incentives, capital requirements with and without ex post fines are studied. We find an endogenous reverse mean-variance trade-off in banks' portfolios. Prudent banks choose high-screening, low-risk portfolios and are virtually self regulating. Imprudent banks choose low-screening, high-risk portfolios. Without state-contingent penalties, optimal capital regulations are often V-shaped in bank franchise value. Adding state-contingent regulation can significantly lower capital requirements. Optimal state-contingent regulations are characterized by fines on extreme right-hand-tail returns.Bank capital

Means of payment, the unbanked, and EFT '99

Electronic funds transfers ; Checks ; Social security

Depression and anxiety in prostate cancer: a systematic review and meta-analysis of prevalence rates

ObjectivesTo systematically review the literature pertaining to the prevalence of depression and anxiety in patients with prostate cancer as a function of treatment stage.DesignSystematic review and meta-analysis.Participants4494 patients with prostate cancer from primary research investigations.Primary outcome measureThe prevalence of clinical depression and anxiety in patients with prostate cancer as a function of treatment stage.ResultsWe identified 27 full journal articles that met the inclusion criteria for entry into the meta-analysis resulting in a pooled sample size of 4494 patients. The meta-analysis of prevalence rates identified pretreatment, on-treatment and post-treatment depression prevalences of 17.27% (95% CI 15.06% to 19.72%), 14.70% (95% CI 11.92% to 17.99%) and 18.44% (95% CI 15.18% to 22.22%), respectively. Pretreatment, on-treatment and post-treatment anxiety prevalences were 27.04% (95% CI 24.26% to 30.01%), 15.09% (95% CI 12.15% to 18.60%) and 18.49% (95% CI 13.81% to 24.31%), respectively.ConclusionsOur findings suggest that the prevalence of depression and anxiety in men with prostate cancer, across the treatment spectrum, is relatively high. In light of the growing emphasis placed on cancer survivorship, we consider that further research within this area is warranted to ensure that psychological distress in patients with prostate cancer is not underdiagnosed and undertreated

New Wine, Old Bottles: Existential Engagement in Ancient Greek and Modern French Dramas on Two Famous Legends

It is not because the ancient Greeks and the modern French are notable wine-makers as well as play-makers that I choose a wine analogy for this comparative study of drama; nor is it because Dionysus is the patron god of both wine and drama, though to my mind both coincidences are certainly happy ones. The primary reason for taking that saw about old wine in new bottles and turning it around to read new wine in old bottles is that this formula presents what I believe to be the most appropriate controlling metaphor for my subject. In the usual use of the expression, the wine is of course the content, or theme, that is poured into the bottle, which is the form. It is a nice way of putting things, perhaps, but it only draws attention to that old distinction between content and form--a distinction which, in any genuine work of art, is largely artificial. In inverting the phrase, I choose to make an altogether different distinction, not between the theme of a work and the form of a work, but, to put it most simply, between the work itself--a drama in this case--and the legend on which it is based. Thus when I speak of new wine in old bottles, I have in mind not new themes in old forms--though this in some respects is close to what I mean--but new plays based on old legends