7,117 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
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
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
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
Manuskrypt błogosławionej pamięci Pejsacha Bergmana, wedle kopii przekazanej przez syna, Bronisława Bergmana [A manuscript of Pejsach Bergman of blessed memory, according to a copy received from his son, Bronisław Bergman]
No full textA manuscript of Pejsach Bergman of blessed memory, according to a copy received
from his son, Bronisław Bergman
The text by Pesach Bergman (1898–1944) is an excerpt from his fictionalized memoirs about the life of the shtetl of Widawa from the late 19th century to the 1930s. Written in Yiddish, it was translated into Polish by Dr. Marcin Urynowicz with the assistance of Sara Arm. It constitutes an original and unique literary genre, which is closest to the meditation (Latin: soliloquia), combining elements of social criticism and sentimental recollections.
Manuskrypt błogosławionej pamięci Pejsacha Bergmana, wedle kopii przekazanej przez syna, Bronisława Bergmana
Tekst Pesacha Bergmana (1898–1944) pochodzi z jego fabularyzowanych wspomnień, dotyczących życia sztetlu Widawa w okresie od końca XIX wieku do lat trzydziestych wieku XX. Został zapisany w języku żydowskim, z którego – z pomocą Sary Arm – przełożył go dr Marcin Urynowicz. Ustanawia oryginalny, właściwy tylko sobie gatunek literacki, najbliższy rozmyślaniom (łac. soliloquia), łączącym elementy krytyki społecznej i sentymentalnego wspomnienia
The Bergman kernel on Reinhardt domains
No full textIn the first chapter, we calculate the Bergman Kernel of monomial polyhedron P by splitting the index space {\cal N}\sp{n} into finite disjoint convex cones which correspond to faces of This enables us to sum up the index within the cones individually, and yields an estimate for the Bergman kernel of monomial polyhedron P on diagonal. In the second chapter, in order to calculate the Bergman kernel for a smooth pseudoconvex Reinhardt domain of finite type, we first show that any pseudoconvex polynomial is roughly equivalent to a polynomial with all coefficients positive. This enables us to approximate by certain type of monomial polyhedron, and leads to a conjecture for the Bergman kernel on smooth pseudoconvex Reinhardt domains
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
Hjalmar Bergman
No full textShort presentation of Swedish author Hj. Bergman and translation of the short story Från andra sida
Archeologisch bureauonderzoek en inventariserend veldonderzoek (verkennende fase)
No full textUit het veldonderzoek blijkt dat beek- en dekzand afzettingen voorkomen. In de laag gelegen beekafzettingen in het zuidelijke deel van het plangebied is naast kleiige afzettingen ook veen aangetroffen dat duidt op moerassige drassige omstandigheden. De huidige bebouwing en oprit en als denkbeeldige lijn de verlenging hiervan liggen op de grens tussen (verspoeld) dekzand en de beekafzettingen. Onder de 15 à 35 cm dikke bouwvoor is ter plaatse van de dekzandafzettingenhet dekzand een 20 tot 35 cm dikke cultuurlaag waargenomen.
Ter plaatse van de huidige en historische voormalige bebouwing is een dikkere cultuurlaag aangetroffen die tot 1,7 m -mv kan reiken
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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