On considère des organismes qui mixent reproduction sexuée et asexuée, dans une situation où la reproduction sexuée fait intervenir à la fois de la dispersion spatiale et de la limitation d'appariement. Nous proposons un modèle qui implique deux équations couplées, la première étant une équation différentielle ordinaire de type logistique, la seconde étant une équation de réaction-diffusion. Grâce à des valeurs réalistes des différents coefficients, il s'avère que la deuxième équation fait intervenir une échelle de temps rapide, alors que la première fait intervenir une échelle de temps lente. Dans un premier temps, on montre l'existence et l'unicité de solutions au système original. Dans un second temps, dans la limite où l'échelle de temps rapide est considérée infiniment rapide, on montre la convergence vers une dynamique réduite d'état d'équilibre, dont les termes correctifs peuvent être calculés à tout ordre. Troisièmement, en utilisant des propriétés de monotonie de notre système coopératif, on montre l'existence d'ondes progressives dans une région particulière de l'espace des paramètres (cas monostable). / We consider organisms that mix sexual and asexual reproduction, in a situation where sexual reproduction involves both spatial dispersion and mate finding limitation. We propose a model that involves two coupled equations, the first one being an ordinary differential equation of logistic type, the second one being a reaction diffusion equation. According to realistic values of the various coefficients, the second equation turns out to involve a fast time scale, while the first one involves a separated slow time scale. First we show existence and uniqueness of solutions to the original system. Second, in the limit where the fast time scale is considered infinitely fast, we show the convergence towards a reduced quasi steady state dynamics, whose correctors can be computed at any order. Third, using monotonicity properties of our cooperative system, we show the existence of traveling wave solutions in a particular region of the parameter space (monostable case).

This dissertation is comprised of a collection of poems preceded by a critical preface. The preface considers the consumed animal body as a metaphor in contemporary American poetry, specifically in the works of Galway Kinnell, Li Young Lee, and Brigit Pegeen Kelly. The consumption of the mute creature allows the poet to identify the human self in the animal other, and serves as a metaphor for our continuity with the natural world. I revise Owen Barfield’s notion of “original participation,” positing that through imaginative participation, the poet and the reader can identify the animal within the self, and thus approach a fuller understanding of both the self and the outside world. We identify the animal other within the human self, and in of this act of relating, we are able to temporarily transgress the boundaries of the individual self to create art that expresses continuity with the outside world. This argument brings about a discussion of text as an act of consumption, and the way and which this can symbolize the ways in which the self is altered through the act of reading. The book-length collection of poems, entitled Marvels of the Invisible, won Tupelo Press’s 2014 Berkshire prize for a first or second book of poetry. The poems look to sources like 17th and 18th century scientific letters, modern and contemporary art, and recent studies in biological phenomena in order to parse the intersection between personal experience and the outside world. The title of the collection points to the conceptual interests of the book: through the lens of scientific phenomena, memory, and personal history, one begins to see that what seems very small (the ant under a microscope, a Russian nesting doll, two people on horseback) are, in fact, individual offerings that articulate one’s place in the cosmos. The collective voice I advocate in the critical preface appears in these poems, especially “Echolocation,” “My Name in Sleep,” “Civilization,” and “Narrative,” all of which make use of the animal-as-metaphor. This collective voice is particularly female, and deals with motherhood, loss, and childhood experience. Poetry, as part-myth, longs to transgress the felt boundaries of the self; it must see that self as inextricably dependent on the natural world.

The aim of this diploma thesis is to analyse and compare Harper Lee's canonical coming-of- age novel To Kill a Mockingbird to its original forerunner, the novel Go Set a Watchman, which was, however, published several years later. The theoretical part provides a brief synopsis of each of the novels and outlines Lee's life, as well as the main aspects of the historical and social background relevant to the stories, namely the Great Depression, Jim Crow laws, and the Scottsboro Trial. The practical part then investigates and juxtaposes the two novels from thematic and structural perspectives, and considers them specifically through the psychological, sociological, and stylistic prisms. Besides, it compares the factual similarities and differences in storylines and characters, who are often based on Lee's real-life acquaintances. The overall comparison shows how To Kill a Mockingbird, a gently tuned novel of children growing up yet packed with diverse topics, evolved from a rather intricate novel, Go Set a Watchman, dealing with a difficult task of one's individuation and realising that one's father is only a human. To Kill a Mockingbird is set in the 1930s and takes place over several years, while the story of Go Set a Watchman is situated some twenty years later, and its plot culminates in the...

Adding something new to the understanding of To Kill a Mockingbird (1960), which is considered a twentieth-century classic, would be nearly impossible if not for the outlook of new historicism. Through a new historicist analysis of Harper Lee’s literary text parallel to non-fictional texts relating to the American justice system and civil rights, this essay explores how race affects U.S. institutions and society. Lee’s novel is contextualized by delving into the American South of the 1930s, American society and politics in the1960s and the racial landscape in America today, connecting them through the experiences of racial bias within the justice system and the civil rights movement. The essay explores the racial and cultural norms that governed the American justice system at the set time of the story. It analyzes the time of publication and the American society in which the novel made such an impact on the racial debate. Finally, it looks at the impact of the novel and its connection to the civil rights movement of the 1960s, the Black Lives Matter movement and readers today. In the spirit of new historicism, the mechanisms of racism and how they affect the population, both the oppressors and the oppressed, is highlighted showing parallels between Lee’s fictional world and American society over time. Through the experiences of the characters, the structures of racism translate to a time and place where the Black Lives Matter movement has infused new life to the civil rights movement worldwide. Looking at retellings of the historical Scottsboro trials, which inspired the story unfolding in To Kill a Mockingbird in light of the justice system, Maycomb county and its inhabitants serves as guides into the racial norms that is ingrained in American society and politics. The results reveal a society where racial segregation is constantly reinforced by legal, economical, and social barriers, despite constitutional efforts to level the playing field for all American citizens.

The aim of this diploma thesis is to analyse and compare Harper Lee's canonical coming-of- age novel To Kill a Mockingbird to its original forerunner, the novel Go Set a Watchman, which was, however, published several years later. The theoretical part provides a brief synopsis of each of the novels and outlines Lee's life, as well as the main aspects of the historical and social background relevant to the stories, namely the Great Depression, Jim Crow laws, and the Scottsboro Trial. The practical part then investigates and juxtaposes the two novels from thematic and structural perspectives, and considers them specifically through the psychological, sociological, and stylistic prisms. Besides, it compares the factual similarities and differences in storylines and characters, who are often based on Lee's real-life acquaintances. The overall comparison shows how To Kill a Mockingbird, a gently tuned novel of children growing up yet packed with diverse topics, evolved from a rather intricate novel, Go Set a Watchman, dealing with a difficult task of one's individuation and realising that one's father is only a human. To Kill a Mockingbird is set in the 1930s and takes place over several years, while the story of Go Set a Watchman is situated some twenty years later, and its plot culminates in the...

This study examines African American stereotypes in film. I studied six directors, Kathryn Bigelow, Spike Lee, the Russo Brothers, Ryan Coogler, Tate Taylor, and Dee Rees; and six films Detroit, BlacKkKlansman, Captain America: The Winter Soldier, The Help, and Mudbound. Using the framework of critical race theory and auteur theory, I compared the common themes between the films and directors. The main purpose of my study is to see if White or Black directors predominantly used African American stereotypes. I found that both races of directors rely on stereotypes for different purposes. With Black directors, the stereotype was explained further through character development, while the White directors used the stereotype at face value with no further explanation.

My stoneware sculptures in my MFA final project were named Earth Divers because clay as a material is earth and clay is also symbolic of the Earth. The way that I physically dive into clay up to my elbows is a poetic performance. The sculptures were built in sections horizontally and then stacked vertically. I began the process by first making life size plaster molds of the human figure taken from live people. Earth Divers take their architectural structure specifically from the organic curves of the negative voids that are characteristic of the plaster figure molds. I built into these plaster molds a block or brick like section. I then removed the large block sections from the molds and stacked the sections one on top of the other combining the figurative and architectural structures with gothic influence. The sculptor, Stephen De Staebler, who works in a similar fashion, describes his work as, "... first laying the figure down and later standing it in a vertical position." The way of life that was lost with the manufacturing past of my family at Castone Brick is found in the use of industrial nostalgia by modeling I-beam shapes as part of the structure of the stacked sections. I also fired nuts, bolts, and washers of various sizes in the clay that build the surface of the human forms. The square nut seen in my work is no longer being manufactured and is symbolic of the passing of the industrial age in America. Finally, to build the surfaces of my sculptures I used slips, glazes, and a variety of clays on top of clay, and laid glass fragments on the horizontal surfaces to create a look of pooled water when my work was fired similar to what I have seen in the Lehman Caves in Baker, Nevada. "I believe there is a force in this world that lives beneath the surface, something primitive and wild that awakens when you need an extra push just to survive, like wild flowers that bloom after a fire turns the forest black. Most people are afraid of it and keep it buried deep inside themselves. But, there will always be a few people who have the courage to love what is untamed inside us." (Tim McGraw)

As an Actor Combatant with the Society of American Fight Directors, theatrical violence is something that has always captivated me. When a female combat instructor once told me that even though I throw a great punch I will never be able to use it because women are always on the receiving end of violence in theatre, I wondered if this was truly the case. After a thorough exploration of several works with theatrical violence, I am glad to say that it is not the case. When most scholars examine violence in theatre, the focus is either male-centric or specifically on domestic violence situations involving a male abusing a female. I will examine theatrical violence through a new lens that has yet to be thoroughly critically explored: violence where the female is the aggressor. Through selected works of three American minority female playwrights: Suzan-Lori Parks' In the Blood, Maria Irene Fornes' Conduct of Life, and Young Jean Lee's Songs of the Dragons Flying to Heaven, I will analyze the female-enacted violence that occurs within these plays using feminist theories and psychology to examine how it happens, why it happens, who the victims are, and what these acts of violence say about minority American women in society today. I will explore the stage directions and dialogue surrounding the violence and analyzing the use or absence of weaponry, the breakdown or build-up of language prior to and after the violent action, and whether or not the violent action occurs before or after a violent action is committed against the female. For comparison, I will also analyze work by an American male playwright with violence in the same way: Tracy Letts' August: Osage County.

Until the nineteenth century, the violoncello was considered a background accompaniment instrument. By 1900 however, over eighty method books had been published for cello, and Richard Wagner and Richard Strauss were composing orchestral cello parts equal in difficulty to those of the violin, traditionally the only virtuosic string part. The emancipation from the ties of bass ostinato for the cello began with Bernhard Romberg in Dresden. The group of cellists, who came to be known as the Dresden School, included Kummer, Lee, Goltermann, Cossmann, Popper, Grutzmacher, Davidov, and other cellists that were students and colleagues of this group. The Dresden School of cellists attempted not only to bring the instrument into prominence, but to revolutionize the technique of the instrument completely. The cello pedagogues of the Dresden School achieved this by publishing their methods and advancements in technique in cello etude and method books. This efficient process of dissemination allowed for the members of the school to improve on each other's work over time. By the second half of the nineteenth century, the cello pedagogy of the Dresden School was established through the etudes published by the cellist-composers of the Dresden School, and these etudes are still considered some of the most advanced studies for cello, and are the foundation of modern cello pedagogy. At the turn of the twentieth century the Dresden School was the leading cello school in the world, and no longer tied only to the city of Dresden, but spread throughout Europe and beyond. In the publishing of their etudes, the Dresden cellists not only passed down their information to their students, but also to future generations of cellists. Descendants of the Dresden School cellists are now performing in almost every nation and teaching the ideas born in nineteenth century Germany.

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