Thesis (Ph. D.)--Catholic University of America, 1945. / At the head of title: The Catholic University of America. Bibliography: p. 232-245.

Tesis para optar al grado de Magíster en Ciencias de la Ingeniería, Mención Matemáticas Aplicadas / Memoria para optar al título de Ingeniero Civil Matemático / En este trabajo de tesis se presenta un estudio sobre la veracidad de la conjetura no local de Lazer-Mckenna para un problema de tipo Ambrosetti-Prodi \begin{equation}\label{ProblemaPrincipal} \begin{cases} (-\Delta)^s = g(u)-\sigma\varphi_1 & \text{ en } \O\\ u=0 & \text{ en } \R^N\setminus \O, \end{cases}\end{equation} donde $\O$ es un subconjunto de $\R^N$ con frontera $C^1$, $s\in(0,1)$, $\varphi_1$ es la primera función propia del laplaciano fraccionario $(-\Delta)^s$ con condición de borde Dirichlet, $\sigma$ es un parámetro real que tiende a infinito y $g(u)=|u|^p$, con $p\in(1,\frac{N-m+1+2s}{N-m+1-2s})$ para $m\in \N$ a definir más adelante y es super-crítico con respecto a $N$. Además $\O$ cumple una condición de simetría parcial que será expuesta más adelante. Más en concreto, la conjetura de Lazer-McKenna predice la existencia de un número no acotado de soluciones a medida que $\sigma$ crece a infinito. A pesar de que la conjetura fue planteada en 1981, solo hasta inicios del siglo XXI se produjeron resultados con la identificación del caso $N$-dimensional y subcrítico como un problema de límites singulares. Este trabajo prueba la veracidad de la conjetura para \eqref{ProblemaPrincipal}. Se probó en este trabajo la existencia de una familia de soluciones indexada por un parámetro natural que presentan concentración en una esfera $m-1$ dimensional cerca de máximos locales de $\varphi_1$. A fin de lograr este propuesto se usó el método Lyapunov-Schmidt, el cual consiste en buscar soluciones de la forma $U+v$, donde $U$ es una función escogida adecuadamente para lograr las propiedades buscadas. Más en concreto $U$ resulta ser una solución fundamental de \eqref{ProblemaPrincipal} para el cual se conocen además su comportamiento asintótico. $v$ por otro lado es un termino de corrección que por lo general se espera que tienda a cero cuando $s$ crece al infinito. Esto va muy en concordancia con los trabajos de Dancer y Yan en \cite{DY,DY2,DY-Supercritico} y los de Abdellaoui, Dieb y Mahmoudi en \cite{Mahmoudi-Boumediene-Dieb}. / Fondecyt regular 1180526, Fondecyt regular 1140311 y CMM Conicyt PIA AFB170001

The increasing globalization of entertainment appears to be having a major impact on the dynamics of the American film industry. The U.S. box office is no longer predominant, meaning that in order to most effectively capitalize on the state of the theatrical market, domestic studios must now more heavily incorporate foreign preferences into production strategy. This study explores the financial nuances of the global box office in relation to sequel-driven film franchises, which have seemingly come to dominate commercial filmmaking as a result of their risk-minimized profitability. We focus on discrepancies between foreign and domestic performance in order to analyze the potential motivations behind the shifts in Hollywood’s output. Using OLS and Probit regression models with a variety of dependent and independent variables, this study finds that sequels tend to perform both relatively and absolutely better overseas, that certain genres are received differently abroad than in the U.S., and that the approval of latter sequels tends to be driven more by foreign revenue generated by previous films within franchises.

Abstract Until now, there has not been a performance history of The Merchant of Venice that focuses on Portia, the main character of the play. Although she has the most lines, the most stage time, and represents the nexus of the action, Portia has often been hidden in Shylock's shadow, and this dissertation seeks to bring her into the spotlight. The Portia Project is a contribution to literary and theatrical history; its primary goal is to provide a tool for scholars and teachers. Moreover, because of Merchant's notoriously problematic nature, the play invites different perspectives. By presenting the diverse ways that actors and directors have approached the play and resolved the cruxes associated with Portia, I aim to demonstrate that there are multiple valid ways in which to interpret the text. Chapter one explores the literary criticism of The Merchant of Venice, centering on the treatment of the play's female protagonist. The early twentieth century produced wide-ranging interpretations of Portia, and the last fifty years have seen her analyzed through the lenses of feminism, cultural materialism, psychoanalytic criticism, and queer theory. Having analyzed the literary criticism, I next concentrate on the performance history of The Merchant of Venice, with particular attention to Portia. I then turn to those who have performed the role in a wide-range of theatrical venues. Chapter three features the input of Seana McKenna--star of the Canadian stage and a mainstay of the Stratford Festival in Ontario--who played Portia in a 1989 production. Michael Langham directed in an atmosphere of trepidation over the play's reception and its portrayal of Shylock's forced conversion. For chapter four I interviewed Marni Penning, a veteran of the smaller repertory companies that are sprinkled about the United States. For chapter five I talked to Edward Hall, artistic director of the all-male Propeller Theatre Company, and Kelsey Brookfield, a young black actor who played Portia for the group's 2009 production. By dressing all of the "male" characters alike, Hall de-emphasized the differences between the Christians and the Jews, while Portia, Nerissa, and Jessica were presented not as women, but as men, who have feminized themselves to survive in their harsh environment. Lily Rabe played Portia for the 2010 production of Merchant in Central Park, opposite Al Pacino's Shylock. The production was so successful that it moved to Broadway in October of that year, and Rabe's intelligent portrayal won universal accolades. The Portia Project explores the perceptions of literary critics, theatrical reviewers, actors, and directors, in order to ascertain how representations and expectations of Shakespeare's most learned heroine have changed over the years and to rescue her from Shylock's shadow. By combining the disciplines of literary criticism, theatre, and film, an evolving picture of Portia emerges, revealing Portia's complexity and her centrality to The Merchant of Venice.

The Claremont Autism Center is a 23 minute documentary on the strengths and benefits the Center brings to Claremont McKenna students, as well as children and families from the Inland Empire that deal with Autism on a daily basis.

The purpose of this thesis was to examine a partial differential equation to model the Tacoma Narrows bridge failure. This thesis will examine the equation developed by Lazer and McKenna to model a suspension bridge in no wind.

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This thesis examines Tse Keh Nay (Sekani) ethnic identity over three periods of Aboriginal-European relations: the fur trade period, the missionary period, and the treaty and reserve period. It examines the affects these three periods have had on the Tse Keh Nay as an ethnic group in four chapters, the first two dealing with the fur trade and missionary periods, and the last two with the treaty and reserve aspects of the treaty and reserve period. In it I argue that during the first two periods wider Tse Keh Nay ethnic identity was reinforced, while during the latter period local Tse Keh Nay identities were reinforced through government policies that dealt with Tse Keh Nay subgroups on a regional and localized basis. Despite this shift in emphasis, wider Tse Keh Nay ethnic identity has remained, proving that Tse Keh Nay ethnic identity is both situational and dynamic. / History