Les séries familiales, qui connaissent un franc succès aux États-Unis depuis les années 1950, ne sont aujourd’hui toujours pas considérées comme un genre fictionnel à part entière. Ce travail de recherche s’attache à en dessiner les contours et à en définir les caractéristiques. Après avoir effectué un historique de la série familiale et de son évolution, il analyse les constantes sociologiques, culturelles et politiques de la famille télévisée contemporaine et la manière dont elle reflète les évolutions de la société américaine, à travers l’étude de quatre séries télévisées de 2000 à 2015 représentatives de sa diversité : Malcolm in the Middle, Gilmore Girls, Six Feet Under et Parenthood. / Family TV shows, hugely successful in the United States since the 1950s, are still not considered today a genre in it’s own right. This research work focuses on shaping its contours and defining its characteristics. After presenting a history of family TV shows and its evolution, it analyzes the sociological, cultural and political constants of the contemporary TV family, and the way it reflects the changes in American society, through the study of four TV shows from 2000 to 2015 representative of its diversity : Malcolm in the Middle, Gilmore Girls, Six Feet Under and Parenthood.

Regardless of the promotion structures employed within the different educational systems of this country, men dominate the position of Principal of secondary schools. Despite legislation seeking to provide equality of opportunity and the apparent breaking down of deeply entrenched societal attitudes of women being the servers or followers, there still exist factors that give rise to the under-representation of women in Principal positions of secondary schools. This thesis was designed to investigate issues associated with the apparent gender imbalance in Principal positions in Victoria's government secondary schools. It will attempt to identify elements that have militated against women gaining such positions. The research methodology employed to investigate the problem is a case study approach. The study centered on a girl's school, Gilmore College for Girls, which has had a succession of female Principals. The research involved inviting women who were Principals of Gilmore College for Girls to participate in an interview. Within that format structured interviews were used to seek the women Principals' perceptions as to factors leading to this under-representation of women as Principals. The findings from this study are then interpreted in the light of factors by which the literature explains the problem. Various reasons emerged to explain the lower number of women Principals. It seemed to stem from perceptions about their roles, which limited the level of their involvement in schools: for instance once women teachers were married with children they were less likely to advance in their careers and to apply for Principal positions. The workload of the Principal was also identified as one of the factors inhibiting women from applying for Principal positions. It was seen to make marriage and child rearing almost impossible. Therefore most women were content to be classroom teachers and only apply for positions that suited their interests and allowed them to meet family, home and social commitments. It is suggested that further related investigations be pursued of women in Principal positions of our secondary schools.

Register clashes are a linguistic phenomenon that occurs in both real and fictional interaction. This study, based on the theory of register as developed by Halliday, examines the functions of register clashes in the television drama series Gilmore Girls. It was hypothesized that the function of register clashes is to create humor, to characterize some characters on the show as sophisticated and witty and some others as lacking in communicative competence, or what is popularly referred to as geeky or nerdy, as well as to characterize the show. A total of 1,306 cases of register clashes were identified, of which 761 cases (58.3 percent) were clear cases and 545 cases (41.7 percent) were somewhat more doubtful. Nearly all cases of register clashes found were considered to have been used to create humor. Eight out of the ten most productive characters with respect to the utterance of register clashes were found to be characterized as witty; the other two characters produced register clashes in a way that characterized them as geeky. Each of the six episodes examined in this study was found to contain many instances of register clashes, regardless of the fact that each was written by a different author. The results thus suggest that the function of register clashes in Gilmore Girls is indeed to create humor, to characterize the characters, and to characterize the show.

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This thesis is a study of William Gilmore Simms' novels that deal with the Revolutionary War.

In this dissertation, I examine the temporal and material connections between component parts of hybrid artworks, specifically between live events / acts of performance and the long-lasting sculptural elements that those events / performances produce. I propose a re-orientation of the temporal gaze of performance art history, from one oriented to the past to one focused on the continually unfolding present. Such a re-orientation requires a nonlinear approach to art making that complicates set boundaries of past and present, liveness and record, and presence and absence, and disrupts in potentially corrective ways our historically normative systems of looking, categorizing, and archiving art. Through a transfeminist analysis that prioritizes multiplicity rather than categorization, I consider elements of liveness in relation to subjectivity and agency, paying attention to their effect on the works’ ongoing reception and classification in archiving systems. I examine three elements of liveness as maintained through indexicality: action, endurance, and presence. Each of these elements has been historically associated with live art but not with static objects; each has been considered only in the past tense after the initial performance has ended. Using definitions of indexicality, nonlinearity, and agency as starting points, I examine how performance-based artworks connect the performance and subjectivity of the artist across time. This project loosely takes the form of three case studies of hybrid art practices by contemporary artists: Kate Gilmore, Mary Coble, and Cassils.