Graph Structure and Coloring

We denote by G=(V,E) a graph with vertex set V and edge set E. A graph G is claw-free if no vertex of G has three pairwise nonadjacent neighbours. Claw-free graphs are a natural generalization of line graphs. This thesis answers several questions about claw-free graphs and line graphs. In 1988, Chvatal and Sbihi proved a decomposition theorem for claw-free perfect graphs. They showed that claw-free perfect graphs either have a clique-cutset or come from two basic classes of graphs called elementary and peculiar graphs. In 1999, Maffray and Reed successfully described how elementary graphs can be built using line graphs of bipartite graphs and local augmentation. However gluing two claw-free perfect graphs on a clique does not necessarily produce claw-free graphs. The first result of this thesis is a complete structural description of claw-free perfect graphs. We also give a construction for all perfect circular interval graphs. This is joint work with Chudnovsky. Erdos and Lovasz conjectured in 1968 that for every graph G and all integers s,t≥ 2 such that s+t-1=χ(G) > ω(G), there exists a partition (S,T) of the vertex set of G such that ω(G|S)≥ s and χ(G|T)≥ t. This conjecture is known in the graph theory community as the Erdos-Lovasz Tihany Conjecture. For general graphs, the only settled cases of the conjecture are when s and t are small. Recently, the conjecture was proved for a few special classes of graphs: graphs with stability number 2, line graphs and quasi-line graphs. The second part of this thesis considers the conjecture for claw-free graphs and presents some progresses on it. This is joint work with Chudnovsky and Fradkin. Reed's ω, ∆, χ conjecture proposes that every graph satisfies χ≤ ⎡½ (Δ+1+ω)⎤ ; it is known to hold for all claw-free graphs. The third part of this thesis considers a local strengthening of this conjecture. We prove the local strengthening for line graphs, then note that previous results immediately tell us that the local strengthening holds for all quasi-line graphs. Our proofs lead to polytime algorithms for constructing colorings that achieve our bounds: The complexity are O(n²) for line graphs and O(n³m²) for quasi-line graphs. For line graphs, this is faster than the best known algorithm for constructing a coloring that achieves the bound of Reed's original conjecture. This is joint work with Chudnovsky, King and Seymour

The language of painting in nineteenth-century English fiction

Bibliography: pages 322-332.This thesis examines the material and aesthetic sustenance which the novel as developing genre drew from the burgeoning popular interest in the visual arts, particularly the pictorial arts, which took place during the course of the nineteenth century in Britain. The first chapter develops the concept of the language of painting which for the purposes of the thesis refers to the linguistic transactions occurring between word and pictorial image when writers on art formulate their impressions in language. This type of discourse is described as governed by conceptual repetition and firmly established techniques of ekphrasis, as well as by indirect and peripheral modes of reference, not to the concrete stylistic features of the works of art under consideration, but to their effect on the viewer, the metaphors they call to mind, and the processes which can be inferred about their conception. The first chapter also gives a survey of the most important thematic strains and structural developments which had been imported into literature by the end of the eighteenth century. A chapter is then dedicated to each of five nineteenth-century novelists, Jane Austen, William Makepeace Thackeray, Charlotte Bronte, George Eliot, and Henry James, mapping out their individual grasp and knowledge of pictorial art in their particular circumstances, their experience of the art world, and the extent to which their experience of art is mediated by current painterly discourses. Each chapter next considers how pictorial material is appropriated in these novelists' fiction and whether the fiction draws structural support and meaning from pictorial concepts. The thesis furthermore investigates the inverse question of how the fiction itself becomes a context which not only reflects, but also shapes and alters inherited languages of painting. The second chapter approaches Austen's social satire against the background of the aesthetic traditions which she inherits from the eighteenth century. It is argued that her own novelistic aesthetic gains more from the discourses surrounding the practice of picturesque landscape appreciation (and related forms) than from Reynolds's doctrine of the general and ideal dominating the mid to late eighteenth century

Bowdoin Orient v.99, no.1-22 (1969-1970)

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Bowdoin Orient v.81, no.1-26 (1951-1952)

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Bowdoin Orient v.92, no.1-22 (1962-1963)

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1959 - California Government and Forestry from Spanish Days Until the Creation of the Department of Natural Resources in 1927, C. Raymond Clar

This 1959 book focuses on the relationship between forestry and the California government. The surface treatment of the lands of California was of significant importance in the building of California, just as was the Gold Rush, the challenge of empire-building and the struggle for water. The book covers on a relatively short span of years although it commences with forest use in Spanish- Mexican California.https://digitalcommons.csumb.edu/hornbeck_usa_3_d/1054/thumbnail.jp

Bowdoin Orient v.90, no.1-22 (1960-1961)

https://digitalcommons.bowdoin.edu/bowdoinorient-1960s/1001/thumbnail.jp

The life and work of the Revd. T.H.E.C. Espin perpetual curate of tow law with special reference to his astronomical research

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