Este trabalho desenvolve a demonstração, dada por Wang em 1977, para a conjectura de Sally, enunciada em 1983, que diz que dado um anel local noetheriano Cohen-Macaulay de dimensão d e dimensão de imersão e + d - 2, onde e é a sua multiplicidade, seu anel graduado associado possui profundidade maior ou igual a d - 1. Utilizando uma propriedade demonstrada por Sally em 1979 (Sally Machine), reduzimos o problema ao caso em que a dimensão do anel é 2, e assim, demonstramos que a profundidade do anel graduado associado é positiva. / This work develops the proof, given by Wang in 1977, for Sally's conjecture, stated in 1983. The conjecture says that given a local Noetherian Cohen-Macaulay ring of dimension d and embedding dimension e + d - 2, where e is its multiplicity, its associated graded ring has depth greater than or equal to d - 1. Using a property proved by Sally, in 1979, called the Sally Machine, we reduce the problem to the 2-dimensional case proving that the depth of its associated graded ring is positive.

Thesis (M. Soc. Sc.)--University of Hong Kong, 2000. / Includes bibliographical references.

Thesis (M.Soc.Sc.)--University of Hong Kong, 2000. / Includes bibliographical references. Also available in print.

Este trabalho desenvolve a demonstração, dada por Wang em 1977, para a conjectura de Sally, enunciada em 1983, que diz que dado um anel local noetheriano Cohen-Macaulay de dimensão d e dimensão de imersão e + d - 2, onde e é a sua multiplicidade, seu anel graduado associado possui profundidade maior ou igual a d - 1. Utilizando uma propriedade demonstrada por Sally em 1979 (Sally Machine), reduzimos o problema ao caso em que a dimensão do anel é 2, e assim, demonstramos que a profundidade do anel graduado associado é positiva. / This work develops the proof, given by Wang in 1977, for Sally's conjecture, stated in 1983. The conjecture says that given a local Noetherian Cohen-Macaulay ring of dimension d and embedding dimension e + d - 2, where e is its multiplicity, its associated graded ring has depth greater than or equal to d - 1. Using a property proved by Sally, in 1979, called the Sally Machine, we reduce the problem to the 2-dimensional case proving that the depth of its associated graded ring is positive.

Este trabalho desenvolve a demonstração, dada por Wang em 1977, para a conjectura de Sally, enunciada em 1983, que diz que dado um anel local noetheriano Cohen-Macaulay de dimensão d e dimensão de imersão e + d - 2, onde e é a sua multiplicidade, seu anel graduado associado possui profundidade maior ou igual a d - 1. Utilizando uma propriedade demonstrada por Sally em 1979 (Sally Machine), reduzimos o problema ao caso em que a dimensão do anel é 2, e assim, demonstramos que a profundidade do anel graduado associado é positiva. / This work develops the proof, given by Wang in 1977, for Sally's conjecture, stated in 1983. The conjecture says that given a local Noetherian Cohen-Macaulay ring of dimension d and embedding dimension e + d - 2, where e is its multiplicity, its associated graded ring has depth greater than or equal to d - 1. Using a property proved by Sally, in 1979, called the Sally Machine, we reduce the problem to the 2-dimensional case proving that the depth of its associated graded ring is positive.

Treatise (D.M.A.) -- Florida State University, 2003. / Advisor: Roy Delp, Florida State University, School of Music. Title and description from treatise home page (viewed 9-28-04). Document formatted into pages; contains 101 pages. Includes biographical sketch. Includes bibliographical references.

No description available.

Les photographies de la série Immediate Family ont suscité une controverse importante dans les années 1990 à 2000. Sally Mann expose dans son œuvre, ses enfants nus, blessés et souillés au regard du public. Malgré le fait qu'elles aient déclenché des menaces et des critiques, les photographies de la série Immediate Family n'ont pas fait l'objet de poursuites judiciaires et ont même valu à son auteur le titre de photographe de l'année 2001 du Time Magazine. Ce constat provoque l'émergence de certaines questions entourant la sensibilité commune. La problématique qui sera étudiée dans ce mémoire est celle-ci : par quel procédé les photographies de la série Immediate Family s'insèrent-elles dans la sensibilité commune? Notre hypothèse est que les photographies de cette série intègrent le sensible commun grâce à leur qualité d'« image pensive ». Nous nous proposons d'utiliser cette notion, développée par le théoricien de l'art Jacques Rancière, comme outil d'analyse de la série Immediate Family. Nous allons étudier le processus de création de l'« image pensive » qui apparaît par l'intermédiaire du mécanisme de la suspension esthétique, terme que nous allons aussi définir. Puis, nous allons étudier le potentiel créateur de la suspension esthétique de la citation et de l'ironie. Finalement, nous allons analyser le fonctionnement de l'ironie et de la citation dans la série Immediate Family pour démontrer le caractère pensif de ces œuvres. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Sally Mann, Image pensive, Suspension esthétique, Controverse, Ironie, Citation, Immediate Family.

Le portrait captive lorsqu’il est envisagé comme présence humaine et qu’il tend à se soustraire à l’interprétation analytique. Prenant appui sur ce constat, le mémoire se penche sur la réponse spectatorielle induite par des portraits photographiques dont l’opacité pose un défi à l’attribution de significations précises. Ces portraits, qui abordent le thème de la mort, appartiennent au corpus "What Remains" (2000-2004) de l’artiste américaine Sally Mann. Ils réactualisent le procédé obsolète du collodion, revisitent le vocabulaire formel du pictorialisme et évoquent l’imagerie mortuaire du 19e siècle. Par ces citations historiques, les œuvres gênent la lecture du référent et introduisent des renversements de sens: elles troublent toute certitude dans la perception et toute littéralité dans l’interprétation. Le mémoire étudie les diverses stratégies citationnelles à la source de cette opacification et examine comment celles-ci tendent à établir les conditions de l’expérience esthétique. Après avoir réévalué certains présupposés théoriques sur la photographie, les paramètres techniques, formels et iconographiques des œuvres sont passés en revue afin d’évaluer leur impact respectif. En s’appuyant sur un cadre issu de la théorie des médias et de la psychanalyse, le travail du médium émerge comme le principal déterminant de l’expérience de ces portraits contemporains. / Portraits captivate when they are considered as human presence and they tend to evade analytical interpretation. Building on this observation, the dissertation addresses the viewer’s response to photographic portraits whose ambiguity challenges attribution of precise meanings. These portraits, which deal with the theme of death, belong to the "What Remains" corpus (2000-2004) of American artist Sally Mann. They re-actualize the old wet collodion process, revisit the formal vocabulary of Pictorialism and evoke 19th century mortuary imagery. Through these historical quotations, the artworks hinder the readability of the referent and produce reversals of meaning: they blur any certainty in perception and any literal interpretation. The dissertation first discusses the various quotation strategies leading to this ambiguity and then examines how they tend to establish the conditions of the aesthetic experience. After re-evaluating some theoretical assumptions about photography, the technical, formal and iconographic parameters are reviewed to assess their respective impact. Based on a framework derived from media theory and psychoanalysis, the work of the medium emerges as the key determinant of the experience of these contemporary portraits.

No description available.