Desenvolvimentos da Conjetura de Fulkerson

Orientador: Christiane Neme CamposDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de ComputaçãoResumo: Em 1971, Fulkerson propôs a seguinte conjetura: todo grafo cúbico sem arestas de corte admite seis emparelhamentos perfeitos tais que cada aresta do grafo pertence a exatamente dois destes emparelhamentos. A Conjetura de Fulkerson tem desafiado pesquisadores desde sua publicação. Esta conjetura é facilmente verificada para grafos cúbicos 3-aresta-coloráveis. Portanto, a dificuldade do problema reside em estabelecer a conjetura para grafos cúbicos sem arestas de corte que não possuem 3-coloração de arestas. Estes grafos são chamados snarks. Nesta dissertação, a Conjetura de Fulkerson e os snarks são introduzidos com ¿ênfase em sua história e resultados mais relevantes. Alguns resultados relacionados à Conjetura de Fulkerson são apresentados, enfatizando suas conexões com outras conjeturas. Um breve histórico do Problema das Quatro Cores e suas relações com snarks também são apresentados. Na segunda parte deste trabalho, a Conjetura de Fulkerson é verificada para algumas famílias infinitas de snarks construídas com o método de Loupekine, utilizando subgrafos do Grafo de Petersen. Primeiramente, mostramos que a família dos LP0-snarks satisfaz a Conjetura de Fulkerson. Em seguida, generalizamos este resultado para a família mais abrangente dos LP1-snarks. Além disto, estendemos estes resultados para Snarks de Loupekine construídos com subgrafos de snarks diferentes do Grafo de PetersenAbstract: In 1971, Fulkerson proposed a conjecture that states that every bridgeless cubic graph has six perfect matchings such that each edge of the graph belongs to precisely two of these matchings. Fulkerson's Conjecture has been challenging researchers since its publication. It is easily verified for 3-edge-colourable cubic graphs. Therefore, the difficult task is to settle the conjecture for non-3-edge-colourable bridgeless cubic graphs, called snarks. In this dissertation, Fulkerson's Conjecture and snarks are presented with emphasis in their history and remarkable results. We selected some results related to Fulkerson's Conjecture, emphasizing their reach and connections with other conjectures. It is also presented a brief history of the Four-Colour Problem and its connections with snarks. In the second part of this work, we verify Fulkerson's Conjecture for some infinite families of snarks constructed with Loupekine's method using subgraphs of the Petersen Graph. More specifically, we first show that the family of LP0-snarks satisfies Fulkerson's Conjecture. Then, we generalise this result by proving that Fulkerson's Conjecture holds for the broader family of LP1-snarks. We also extend these results to even more general Loupekine Snarks constructed with subgraphs of snarks other than the Petersen GraphMestradoCiência da ComputaçãoMestre em Ciência da Computaçã

Report on the Geology and Coals of the Central City, Madisonville, Calhoun, and Newberg Quadrangles (in Muhlenberg, Hopkins, Ohio, McLean, Webster, Daviess, and Henderson Counties)

A report on coal viability and other natural resources in Central City, Madisonville, Calhoun, and Newburg Quadrangles (in Muhlenberg, Hopkins, Ohio, McLean, Webster, Daviess, and Henderson Counties), Kentucky. General Geology - pp 3 - 27 Central City Quadrangle - pp 28 - 68 Madisonville Quadrangle - pp 69 - 98 Calhoun Quadrangle - pp 99 - 116 Newberg Quadrangle - pp 117 - 12

Spaces of Appearance: Writings on Contemporary Theatre and Performance

This thesis, a collection of previously published materials, reflects a plural and evolving engagement with theatre and performance over the past fifteen years or so: as researcher, writer, editor, teacher, practitioner, spectator. These have rarely been discreet categories for me, but rather different modalities of exploration and enquiry, interrelated spaces encouraging dynamic connectivities, flows and further questions. Section 1 offers critical accounts of the practices of four contemporary theatre directors: Jerzy Grotowski, Robert Wilson, Peter Brook and Ariane Mnouchkine. Section 2 draws on elements of contemporary philosophy and critical thinking to explore the mutable parameters of performance. lt proposes performative mappings of certain unpredictable, energetic events 'in proximity of performance', to borrow Matthew Goulish's phrase: contact, fire, animals, alterity, place. Section 3 contains examples of documentation of performance practices, including a thick description of a mise en scene of a major international theatre production, reflections on process, training and dramaturgy, a performance text with a framing dramaturgical statement, and personal perspectives on particular collaborations. The external Appendix comprises a recently published collection of edited and translated materials concerning five core collaborative projects realised by Ariane Mnouchkine and the Theatre du Soleil at their base in the Cartoucherie de Vincennes, Paris. The core concerns of this thesis include attempts to think through: • the working regimes, poetics and pedagogies of certain directors, usually in collaborative devising contexts within which the creative agency of performers is privileged; • the processes and micro-politics of collaboration, devising, and dramaturgical composition; the dramaturgical implications of trainings, narrative structures, spaces, mise en scene, and of images as multi-layered, dynamic 'fields'; • the predicament and agency of spectators in diverse performance contexts, and the ways in which spectatorial roles are posited or constructed by dramaturgies; • the imbrication of embodiment, movement and perception in performance, and the plurality of modes of perception; • the critical and political functions of theatre and theatre criticism as cultural/social practice and 'art of memory' (de Certeau), of dramaturgies as critical historiographies, and of theatre cultures (and identities) as plural, dynamic, and contested; • performance as concentrated space for inter-subjectivity and the flaring into appearance of the 'face-to-face' (Levinas); the possibility of ethical, 'response-able' encounter and exchange with another; identity as relational and in-process, alterity as productive event, the inter-personal as political; • the poetics and politics of what seems an unthinkable surplus (and constitutive 'outside') to the cognitive reach of many conventional frames and maps in theatre criticism and historiography; an exploration of acts of writing as performative propositions and provocations ('critical fictions') to think the event of meanings at/of the limits of knowledge and subjectivity. This partial listing of recurrent and evolving concerns within the thesis traces a trajectory in my evolution as a writer and thinker, a gradual displacement from the relatively 'solid ground' of theatre studies and theatre history towards more fluid and tentative articulations of the shifting 'lie of the land' in contemporary performance and philosophy. This trajectory reflects a growing fascination with present process, conditions, practices, perceptions 'in the middle', and ways of writing (about) performance as interactive and ephemeral event

The immense complex drama: the world and art of the Howells novel

(print) xii, 245 p. ; 23 cmIntroduction i -- I. The Psychic Set : Howells and Alienation 25 -- II. Alienation Given Form : The Howells Novel as Satire 51 -- III. Threats and Salvations : The Howells Demon and the Howells Artist 113 -- IV. Howells the Craftsman of Perception 137 -- V. The Limits of Negativity : Questions of Form, Style, and Achievement 187 -- Bibliography 229 -- Index 23