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Dans cette thèse nous donnons une classification des algèbres amassées provenant de l'infini-gone et établissons une relation entre ces algèbres et celles associées aux carquois de type A [indice inférieur infini]. Nous présentons une nouvelle construction des algèbres amassées sur les carquois de type A[indice inférieur infini] qui exhibe la liste complète des variables amassées, chacune étant donnée par une formule explicite. Ensuite nous montrons que si Q est un carquois fini, connexe et acyclique dont le carquois répétitif ZQ contient une tranche locale isomorphe à Q[indice supérieur op], alors il existe un plongement de ZQ dans l'espace et une réflexion oblique de l'espace qui induisent une involution dans ZQ. Comme conséquence immédiate de ce résultat, nous montrons que: si une algèbre amassée contient une graine (x Q) tel que Q est un carquois acyclique équivalent par mutations à Q[indice supérieur op], alors le groupe des automorphismes amassés de cette algèbre est un produit semi-direct du sous-groupe des automorphismes directs et du groupe Z[indice inférieur 2] ce qui est une démonstration de la conjecture d'Assem-Schiffler-Shramchenko sur les automorphismes amassés.

Rust Belt and Other Stories is a collection of stories exploring characters in the bleak moments when social oppression challenge the perceived meaning of their lives. The disenchantments are influenced by distinctive settings, which set the tone for the stories. Place is an active force shaping the protagonists and adding to the nuance of character relationships, dialogue and philosophical outlooks.

This thesis starts with an overview of the historical record tied to the birth of a new nation studied by Alexis de Tocqueville and Henry Steele Commager. It singles out the works of Henry Nash Smith and Eugene D. Genovese for an understanding, respectively, of the "myth of the frontier" tied to the conquest of the American West and the "plantation myth" that sustained slavery in the American South. Both myths underlie the concept of hybridity or cross-cultural relations in America. This thesis is concerned with the representation or lack of representation of hybridity and the roles played by female characters in connection with the land in two seminal American novels and their film versions---James Fenimore Cooper's The Last of the Mohicans, and Margaret Mitchell's Gone With the Wind---and Alice Randall's rewriting of Mitchell's novel, The Wind Done Gone , as a point of contrast. Hybridity is represented in the mixed-race bodies of these characters.

No description available.

A comparative examination of the original and reproduction Gone With the Wind costumes at the Harry Ransom Center is at the heart of this study, which proposes to trace the relationship between the analogue original costume, the replica garment, and the digital image reproduction. A discussion of definitions of authenticity and “the original” within such areas as conservation, film studies, and audience perception explores the questions: what is the role of the reproduction, and can it challenge the authority and “aura” of the original? This inquiry illustrates that authenticity is negotiated; it is not always fixed in a clear line ranging from “the real thing” on one side to “the copy” on the other. The study concludes with examining digital image reproductions of costume. The online digital database record can potentially reveal more than a face-to-face encounter with the object in a gallery space, illuminating the biography and history of the garment, changes in curatorial decisions and exhibition practice, and the experience of tactility and embodiment. / text

Gone Girl är den bästsäljande romanen av Gillian Flynn. Trots försäljningssiffrorna så har inte mottagandet varit genomgående positivt. I denna studie analyseras Gone Girl på de nivåer som sträcker sig utanför deckarens ramar. Syftet med studien är att studera hur genus dels porträtteras i romanen men även hur den påverkar den heteronormativa tvåsamheten mellan Amy och Nick som är romanens huvudkaraktärer. Utöver detta kommer även karaktären Amy att analyseras för att studera hur hon framställer sig själv genom sitt skrivande. Den använda metoden för analysen är en närläsning av romanen med fokus på utvalda scener. Analysen kommer främst att fokusera på heteronormen, genuskonstruktion, stereotypa könsroller men även vad normen för deckare och kriminalromanen är och hur den porträtteras i Gone Girl. Till analysen används dels Judith Butlers performansteori och teorin om den heterosexuella matrisen men även genusforskning av Heléne Thomsson och Ylva Elvin-Nowak. Min studie leder mig till att porträtteringen av genus och en heteronormativ tvåsamhet i Gone Girl är psykiskt skadlig för huvudpersonerna Amy och Nick men även fysiskt farlig för Desi som får offra livet för idén om kärnfamiljen. Studien fokuserar även på flera händelseförlopp i romanen som målar upp Amy som en pastisch snarare än den kvinnliga psykopat medier anklagat henne för att vara.

Anyone who is familiar with Margaret Mitchell’s life and her novel, Gone with the Wind, should notice that Mitchell’s work in some fashion parallels events from her life. Exactly how and why these parallels function, however, has been the subject for much scholarly debate. In my thesis, I examine Mitchell’s biography to get closer to the truth of the events in her life up to the publication of her novel. I then synthesize this information with a side-by-side analysis of some important figures in Mitchell’s life and characters from her novel; from there, I provide a feminist critique of selected characters, relationships between those characters, and scenes from the novel. In particular, I focus upon Mitchell’s relationship with her mother, Maybelle, and how this relationship compares with Scarlett O’Hara’s relationship with her mother, Ellen.

This thesis examines the condition of the “Curtain Dress” of Gone With the Wind (GWTW) with the purpose of advising a conservation plan that would allow its exhibit in 2014 as part of the 75th anniversary of the film. The dress has been stored since 1981 in the Harry Ransom Center (HRC) at the University of Texas at Austin as part of the David O. Selznick (DOS) Collection. The project addresses the book, the film, the creation of the dress, and what happened to it after filming was over. A collaborative team was formed including HRC staff, a conservator, and graduate students from the Textiles and Apparel Division at the University of Texas at Austin. The author of this study provided historical context, document analysis, construction evaluation, and fiber testing. A timeline for the book, film, and garment was established; communications from Selznick referencing the dress were analyzed; construction details were photographed and documented for reference; and colorimetry and spectroscopy techniques were used for fiber analysis. / text

That slavery was largely excised from the cultural memory of the Civil War in the late nineteenth and early twentieth centuries, particularly by white Americans, is well documented; Slavery and the Civil War in Cultural Memory moves beyond that story of omission to ask how slavery has been represented in U.S. culture and, necessarily, how it figures into some of the twentieth century's most popular Civil War narratives. The study begins in the 1930s with the publication of Gone with the Wind--arguably the most popular Civil War novel of all time--and reads Margaret Mitchell's pervasive tale of ex-slaveholder adversity against contemporaneous narratives like Black Reconstruction in America , Absalom, Absalom!, and Black Boy/American Hunger , which contradict Mitchell's account of slavery, the war, and Reconstruction. Spanning nearly seven decades, this study tells the story of how cultural productions have continued to reinterpret slavery. Focusing primarily on novels and films but also drawing on interviews with ex-slaves, private journals, and court records, each chapter explores how slavery is represented in a particular historical epoch and highlights each narrative's contribution to the creation of cultural memory, particularly its conformity to earlier works or its revision of antecedents. In addition, Slavery and the Civil War in Cultural Memory traces representations of slavery through recurring themes such as hunger, disease, marriage, and madness and seeks to understand how the narratives in question comment directly on the concept of memory. Among the topics discussed are the Civil War centennial; how Margaret Walker's Jubilee relates slavery, the Civil War, and Reconstruction to the civil rights movement of the 1960s; the controversy over The Confessions of Nat Turner; the Roots phenomenon, and the copyright lawsuit filed against the publisher of Alice Randall's unauthorized parody, The Wind Done Gone. The study concludes in 2005, with March, Geraldine Brooks's reimagining of Little Women, and E.L. Doctorow's The March, about Sherman's campaign through Georgia and the Carolinas. A pattern emerges in the final chapters that shows recent authors conjuring, in order to revise, elements of Absalom, Absalom! and Gone With the Wind.