Location and Pricing Decisions of a MultiStore Monopoly in a Spatial Market

Abstract.  This article presents an analysis of location and pricing decisions of a monopolist about to open several stores in a compact geographical space. The number of stores is made endogenous by the introduction of fixed costs. A novel methodology is developed, by which the firm's location and price decisions are represented as continuous functions defined over the geographical space. This modeling artifact generates a negligible error but simplifies the solution considerably and allows the derivation of several intuitive results. Although the focus is on one‐dimensional markets, it is shown that the method can easily be adapted to two‐dimensional markets.     

Dative Case Marking in Vafsi within the OT Framework

The dative case in Vafsi appears in three structures: (a) the case of the experiencer in sensory verbs, (b) the case of the indirect object (IO), and (c) the case of the object of the preposition /da/ (to), or the preposition /az/ (to), or the enclitic /-o/ (to), or the object of the postposition /rā/ (for). In Vafsi, as in many other Indo-European languages, sensory verbs necessitate the emergence of quirky subjects which have the experiencer function and are dative case marked. In order to analyze the dative case marking in Vafsi using optimality theory, this article uses the faithfulness constraint of faith-lex and the markedness constraint hierarchy of *ERG>>*DAT>>*ACC>>*NOM. Vafsi always allocates the dative case to the IO of the ditransitive verbs. This phenomenon is illustrated by use of an optimality theory (OT) tableau. Some Vafsi ditransitive verbs dative case mark the IOs using adpositions. If so, Vafsi differential adpositional case marking (DACM) will rule, as the IOs are objects of adposition (OAs) simultaneously.     

Indigenous Performing Traditions in Post-Revolutionary Iranian Theater

One of the major trends in experimental theater refashions the representational and presentational techniques of ancient rituals, medieval dramatic forms and popular performing traditions to create new forms of dramatic expression. In pre-revolutionary Iran, the proponents of this trend included those who worked with Iran National Theater and Theater Workshop. The 1979 revolution heralded the arrival of a different kind of drama in response to a host of new subjects and restrictions. However, unlike the political upheavals of previous periods which led to catastrophic discontinuity in the development of Iranian theater, it did not result in a complete breach. The post-revolutionary practitioners continued working with the templates devised by their pre-revolutionary colleagues, creating a dramatic tradition that has produced several masterpieces during recent decades. The purpose of this paper is to put the history of this experimental trend in perspective and examine the works of three of its major post-revolutionary practitioners. As such it will not focus on the history of indigenous forms or western-style theater in Iran, but on the recent history of this experimental mode and how its practitioners have refashioned Iranian performing traditions.