10,804 research outputs found
The Bergman property for semigroups
No full textIn this article, we study the Bergman property for semigroups and the associated notions of cofinality and strong cofinality. A large part of the paper is devoted to determining when the Bergman property, and the values of the cofinality and strong cofinality, can be passed from semigroups to subsemigroups and vice versa. Numerous examples, including many important semigroups from the literature, are given throughout the paper. For example, it is shown that the semigroup of all mappings on an infinite set has the Bergman property but that its finitary power semigroup does not; the symmetric inverse semigroup on an infinite set and its finitary power semigroup have the Bergman property; the Baer-Levi semigroup does not have the Bergman property.Peer reviewe
Captives no longer, but servants still? Contract parliamentarism and the new minority governance in Sweden and New Zealand
No full textThis is the accepted version of this article. The definitive version is available at www3.interscience.wiley.com
Published version: Bale, T. and Bergman, T. (2006), Captives No Longer, but Servants Still? Contract Parliamentarism and the New Minority Governance in Sweden and New Zealand. Government and Opposition, 41: 422–449. doi: 10.1111/j.1477-7053.2006.00186.
The role of imagination in Bergman, Klein and Sartre
No full textThis thesis was submitted for the degree of Doctor of Philosophy and was awarded by Brunel UniversityThis thesis provides an inter-disciplinary study of selected works by Ingmar Bergman. I explore how key concepts from Melanie Klein and Jean-Paul Sartre apply to the focus on characters in a state of heightened imagination; and the value placed on imagination in the construction of these films. This involves recognition of the way an active response from the viewer is encouraged.
Klein, Sartre and Bergman also attend to contextual factors that challenge any notion of subjectivity as sovereign and the power of imagination is frequently placed in a social context. All three figures develop their ideas within specialised fields drawing on the influence of others. Chapter 2 shows how Klein’s ideas relate to the influence of Freud before exploring how her work can be applied to Bergman’s films through the example of Wild Strawberries. Chapter 3 concentrates on Sartre’s early work, The Imaginary and considers how this is significant in relation to some of Sartre’s better-known philosophical ideas developed during and after the Second World War. These ideas will lead to an exploration of The Seventh Seal.
Chapters 4, 5, and 6 focus on three films from distinct parts of Bergman’s career: Summer with Monika, The Virgin Spring and Hour of the Wolf. In Chapter 4 this will be preceded by a brief over-view of three more films from the early part of Bergman’s career. These chapters explore how Kleinian and Sartrean ideas can be incorporated in close analysis, and alongside selected critical responses to the films. The analysis integrates key points from Klein and Sartre in a methodology specific to film studies. This will include analysis of cinematic elements such as camera work and lighting, and recognition of narrative structure and character developmen
Bergman and the business [Elektronisk resurs] : Notes on the director’s ‘worth in the market’
No full textThis chapter discusses Bergman’s potential worth in the commercial film market on the basis of the director’s own correspondence with potential co-producers and international distributors of his films. The author first studies Bergman’s ample correspondence with Carl Anders Dymling, the powerful head of the Swedish production company Svensk Filmindustri between 1942 and 1961; most of Bergman’s early films were produced by Svensk Filmindustri. This correspondence concerns Bergman’s potential turn to the more profitable colour-film format in the early 1960s, a turn resisted by Bergman on artistic grounds; Bergman’s first colour film would eventually be the relatively unknown comedy, All these Women, in 1964. Second, the author examines Bergman’s correspondence with New York agent Bernhard L. Wilens regarding a possible film adaptation of French author Albert Camus’s short novel The Fall (La Chute, 1956). Third, the chapter explores Bergman’s correspondence with his American distributors, Janus Films, who famously specialized in the art-house market. Here, Janus is represented by Cyrus Harvey. Bergman never made a colour film during Dymling’s reign at Svensk Filmindustri, nor did he ever direct a film based on Camus’s novel. He did have a lengthy relationship with Janus Films, however. The chapter demonstrates how Bergman’s conception of himself as an artist conflicted with Hollywood, especially with regard to filmmaking practices. As an auteur in the European tradition, Bergman would always strive for artistic control of the entire production and distribution processes
Stability and covergence properties of Bergman Kernel methods for numerical conformal mapping
No full textIn this paper we study the stability and convergence properties of Bergman kernel methods, for the numerical conform al mapping of simply and doubly- connected domains. In particular, by using certain well-known results of Carleman, we establish a characterization of the level of instability in the methods, in terms of the geometry of the domain under consideration. We also explain how certain known convergence results can provide some theoretical justification of the observed improvement in accuracy which is achieved by the methods, when the basis set used contains functions that reflect the main singular behaviour of the conformal map
Hjalmar Bergman
No full textShort presentation of Swedish author Hj. Bergman and translation of the short story Från andra sida
Schatten class generalized Toeplitz operators on the Bergman space
No full textsummary:Let be a finite positive measure on the unit disk and let be an integer. D. Suárez (2015) gave some conditions for a generalized Toeplitz operator to be bounded or compact. We first give a necessary and sufficient condition for to be in the Schatten -class for on the Bergman space , and then give a sufficient condition for to be in the Schatten -class on . We also discuss the generalized Toeplitz operators with general bounded symbols. If and , we define the generalized Toeplitz operator on the Bergman space and characterize the compactness of the finite sum of operators of the form
Det mångstämmiga rummet : Hjalmar Bergmans romankonst 1913-1918
No full textThis thesis deals with the problems of genre and narrative techniques in two novels by the Swedish author Hjalmar Bergman, 1883-1931. Although regarded as one of the foremost novelists in Swedish literature, with novels such as Markurells i Wadköping, 1919, and Farmor och vår Herre, 1921, Bergman's narrative techniques have not previously been systematically analyzed. Instead critics have focussed either on the biographical and philosophical aspects of his work, or on the meaning of his specific use of symbols and metaphorical language. Hjalmar Bergman wrote more than twenty novels, a large number of plays, short stories, fairy tales and screenplays. His most innovative period was in the 1910s, which is also the period focussed on here. The study begins with the reception of the seven novels written from 1912 to 1918. These novels were considerably different from what the critics at the time were wont to expect. Consequently they had trouble understanding not only the purpose of the narrative techniques in the novels, but also in determining their specific genre and subject matter. The aim of this thesis is to demonstrate that by analyzing Hjalmar Bergman's narrative techniques, we can learn more about the genre of the novel, about its status in the Swedish literary institution of the 1910s, and about Hjalmar Bergman's contribution to its development in Sweden. For this purpose the methods of the Russian theorist of the novel, Mikhail Bakhtin, have proved to be useful. In the succeeding chapters two novels, Loewenhistorier, 1913 (Loewen Stories) and En döds memoarer, 1918 (The Memoirs of a Dead Man), are analyzed for a deeper understanding of Hjalmar Bergman's specific use of novelistic subgenres such as the adventure story, the picaresque, the Bildungsroman, the confession, the memoir etc. Hjalmar Bergmanhas been considered a 'pre-modernist' in Swedish prose fiction. If this is the case, it is not primarily because hetried to invent new ways of writing novels, but rather that he made use of seemingly well-defined genres, combining them in new and often surprising ways. He thereby investigates not only a subject matter or a protagonist, but also the relevance, with regard to the stories hesets out to tell, of the genre-bound plots and perspectives. The result is novels that are simultaneously highly structured and 'law-abiding', in accordance with their genre patterns, and characterized by a certain open-ended 'brokenness'. Nothing ever turns out as the reader might expect, judging from the genres used in the novels.digitalisering@um
L'île, les plages et les plis d'Ingmar Bergman
No full textIngmar Bergman's film universe covers a large number of themes rooted in the human condition. The characters in his films experience changes both in their geographical space and in themselves. However, the change within the characters is also manifested in the entire film. To understand how these changes operate, I turn to Gilles Deleuze to analyze the beaches within Bergman's films, since he considers that change extends, overflows and operates mainly as his theory of sensation. The characteristic of being rocky beaches where the contrast between sea and land is more endearing is the starting point for the analysis. I concluded that the changes experienced by the characters transcend not only the film but configure a part of Ingmar Bergman's life that was determined by his interaction with the beaches.El universo fílmico de Ingmar Bergman abarca una gran cantidad de temas arraigados en la condición humana. Los personajes de sus películas experimentan cambios tanto en su espacio geográfico como en ellos mismos. Sin embargo, el cambio al interior de los personajes se manifiesta también en la película entera. Para entender cómo operan estos cambios, recurro a Gilles Deleuze para analizar las playas dentro de las películas de Bergman, ya que considero que el cambio se extiende, se desborda y opera principalmente como su teoría de la sensación. La característica de ser playas rocosas en donde el contraste entre el mar y la tierra es más entrañable es el punto de partida para el análisis. Concluyo que los cambios experimentados por los personajes trascienden no sólo a la película, sino que configuran una parte de la vida de Ingmar Bergman que estuvo determinada por su interacción con las playas.L'univers cinématographique d'Ingmar Bergman recouvre un grand nombre de thèmes ancrés dans la condition humaine. Les personnages de ses films vivent des changements à la fois dans leur espace géographique et en eux-mêmes. Cependant, le changement au sein des personnages se manifeste également dans l’ensemble du film. Pour comprendre comment ces changements s'opèrent, je me tourne vers Gilles Deleuze pour analyser les plages dans les films de Bergman, car je considère que le changement s'étend, déborde et opère principalement comme sa théorie de la sensation. La caractéristique d’être des plages rocheuses où le contraste entre la mer et la terre est plus attachant est le point de départ de l’analyse. Je conclus que les changements vécus par les personnages transcendent non seulement le film mais configurent également une partie de la vie d'Ingmar Bergman qui était déterminée par son interaction avec les plages
The playfulness of Ingmar Bergman : Screenwriting from notebooks to screenplays
No full textThis chapter discusses the creative playfulness in the screenwriting process of Ingmar Bergman’s filmmaking. The process of writing from notes and drafts to finished screenplays is examined from the perspective of genetic criticism in combination with perspectives on screenwriting as an intermediate process across media and in stages. The notion of play refers both to Bergman’s method of creative writing and to the playful dimension of the finished artwork, i.e. the films and screenplays. Play is understood in terms of transcendence between the fictional and the real on various levels. Most importantly, the chapter focuses on play in the ambivalence of agency in Bergman’s notebooks—that is transgressions between author, narrator, and character—that continues in the aesthetics of self-reflexivity and auto-fiction in the screenplays and in the films. The Ingmar Bergman Archives, where his notes and screenplay drafts are collected and digitized, allow such an examination of the writing process. The archive consists of the donation of Bergman’s personal collection of notes, drafts, letters, and other documents—personal and professional—from his early career in the 1930s until the last productions in the early 2000s, across several media and art forms.</p
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