Esta dissertação se propõe a investigar a comunicação a partir da obra cinematográfica do diretor sueco Ingmar Bergman (1918-2007). Em oposição a uma ideia corrente na literatura sobre esse cineasta, a de que seus filmes seriam uma expressão da incomunicabilidade, buscamos caracterizar a partir deles uma comunicação de caráter afetivo, que está relacionada ao uso por parte do diretor do rosto em primeiro plano. Nossa fundamentação teórica tem como centro os conceitos de imagem-afecção, de Gilles Deleuze (1985; 2011), e de rostidade, de Deleuze e Félix Guattari (2012). Realizamos nossas análises com base em 16 filmes de Bergman, a partir de um procedimento de desmonte e arranjo, que deram a ver o que compreendemos como figuras da comunicação afetiva em Bergman: mãos, relógios, óculos, máscaras, espelhos, estátuas e multidão. As análises permitiram identificar os parâmetros dessa comunicação afetiva. / This dissertation aims to investigate communication in the cinematographic work of Swedish director Ingmar Bergman (1918-2007). In contrast to a recurrent idea in the literature about this filmmaker – that his movies are an expression of incommunicability –, we look to characterize a form of communication that is affective and related to the use by the director of the face in close-up. Our theoretical foundation has at its center the concepts of affection-image, by Gilles Deleuze (1985; 2011), and that of faciality, by Deleuze and Félix Guattari (2012). We did our analyses of 16 Bergman movies based on a break and rearrange procedure, which led to what we see as figures of the affective communication in Bergman: hands, clocks, glasses, masks, mirrors, statues and the multitude. The analyses have permitted us to identify the parameters of that affective communication.

This research analyzes the construction process of the Swedish habitus that Ingmar Bergman seized and showed in his film work, particularly in the movie "Saraband" (2003). To perform this analysis, that is anchored in a ethnographic methodology, which i raise and analyze certain patterns of behavior, languages and beliefs of the Swedish people, to map the socio-cultural setting in which Bergman was immersed. Thus, my theoretical and methodological support, to the dialogue between the Swedish society and the filmmaker, through the film "Saraband", are the concepts of Norbert Elias (1993.1994, 1995, 1997, 2001, 2006, 2011): Configuration, individuation and habitus. The first two chapters are bibliographical and historical review of Bergman and about Sweden, then enter the third chapter, on the analysis of the film in the light of the information presented and procedural theory of Elias. In this analysis I could see how the interdependence between individual and society is reflected in the film. / Esta pesquisa analisou o processo de construção do habitus sueco que Ingmar Bergman apreendeu e evidenciou em sua obra cinematográfica, particularmente no filme “Saraband” (2003). Para a realização dessa análise, ancoro-me em uma metodologia de natureza etnográfica, na qual busco levantar e analisar determinados padrões de comportamento, linguagens e crenças do povo sueco, para mapear o cenário sociocultural no qual Bergman estava imerso. Destarte, meu aporte teórico-metodológico para fazer a interlocução entre a sociedade sueca e o cineasta, através da película “Saraband”, são os conceitos de Norbert Elias (1993,1994, 1995, 1997, 2001, 2006, 2011): configuração, individuação e habitus. Fiz nos primeiros dois capítulos uma revisão bibliográfica e histórica sobre Bergman e sobre a Suécia, para depois adentrar no terceiro capítulo sobre a análise do filme à luz das informações apresentadas e da teoria processual de Elias. Nesta análise, pude constatar como a relação de interdependência entre indivíduo e sociedade é refletida no filme.

Optimized methods for the regioselective and stereospecific synthesis of both trisubstituted and tetrasubstituted olefins as single isomers from E-β-chloro-α-iodo-α,β-unsaturated esters have been developed from previous work done in the Ogilvie lab. These optimized methods have led to the synthesis of trans isomeric enediynes that can be photoisomerized to their respective cis isomers and subsequently undergo microwave-assisted Bergman cycloaromatizations. Furthermore, both cis and trans isomeric enediynes that have propargyl ether substituents have been found to be able to undergo photoactivated Bergman cyclizations without the need for an intermolecular hydrogen donor. A mechanism study has confirmed that the Bergman cyclization products that form without the presence of an intermolecular hydrogen donor undergo a series of 1,5-hydrogen shifts as intermediates. A series of optimizations to these reactions were carried out, in part by utilizing electron-donating or electron-withdrawing functional groups to help stabilize the resulting radicals that form on the intermediates, and thus increase the yield of the associated Bergman cyclization products.

This work expands the current understanding of materials chemistry and engineering capabilities of two synthetic platforms: 1.) bis-ortho-diynylarenes (BODA) and 2.) trifluorovinylaryl ethers (TFVE). Each platform possesses a unique chemistry which paradoxically enables the development of high-performance materials therefrom while simultaneously retaining exceptional melt and solution processability. Leveraging the apparent dichotomy in properties (performance/processability) obtainable from these two synthetics platforms, we have pursued and achieved a practical approach to high-temperature resistant materials with an immense potential for technology transfer and commercialization: 1.) BODA-derived resins (BDR) constitute a versatile platform of melt-processable resins capable of rapidly producing high performance matrix composites which include thermoset, carbon-carbon, and other specialty carbon or hybrid ceramic composite structure. BODA monomers can be synthesized via a three-step process from commercially available bisphenols and undergo a facile catalyst-free, thermal-initiated polymerization to yield polyarylene thermosets with outstanding thermal-oxidative stability, low heat release, flame resistance, and high carbon yields (>80%). The combination of melt processability, ease of cure, and high carbon yields in BDR provides an attractive quick, single-step fabrication of carbon/carbon (C/C) composites with excellent interlaminar shear strength (ILSS; ~1800 psi) after a single infusion/carbonization. Furthermore, our work in this area has shown that C/C from BDR can be prepared via a fast carbonization (10 °C/min), relative to typical 1 °C/min or 1 °C/hr industrial carbonizations, without causing undesirable shrinkage, cracking, interlaminar debonding, or detrimental changes in ILSS. 2.) Large polyaromatic hydrocarbons (PAHs) are typically known for their interesting thermal- and photo-optical properties but suffer from poor solubility and processability issues. Functionalization of these moieties with TFVE fluorocarbon groups enables melt or solution polymerization via a thermally initiated [2+2] cyclodimerization of the TFVEs towards high performance perfluorocyclobutyl (PFCB) aryl ether polymers. For example, successful fabrication of free-standing photoluminescent films with record high glass transition temperatures (Tg ~ 300 °C), exceptional thermal-oxidative stability (~250 °C, 24 h), unprecendented photostability at 250 °C in air, and excellent solubility in common organic solvents (at room temperature) have been realized via a set of triphenylene-enchained PFCB aryl ether polymers.

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Fresas salvajes y Persona: el encuentro con uno mismo y las relaciones humanas en el cine de Ingmar Bergman tiene como objetivo analizar la obra de Bergman a través de dos películas, Fresas salvajes (1957) y Persona (1966), realizadas en décadas y contextos diversos, lo que permite establecer considerables comparaciones, tanto a nivel de forma como de contenido. Ingmar Bergman es un cineasta sueco cuya época de mayor actividad cinematográfica se ubica en las décadas de los cincuenta, sesenta e inicios de los setenta. Su filmografía, que incluye más de medio centenar de películas, se explica a la luz del cine de autor; de ahí que el análisis de su obra exija descifrar el universo personal que plantea el director. Este trabajo de investigación considera que Bergman aborda temas existenciales, que a manera de motivos, aparecen en forma reiterada en sus películas. Con la intención de reconocer las variaciones de estos motivos, la presente tesis analiza la evolución en sus filmes de dos características de la existencia, el encuentro con uno mismo y las relaciones humanas. Se trata de dos matrices, cuya delimitación incluye la revisión de tres influencias en la obra de Bergman: el luteranismo, el existencialismo y el entorno sueco. El análisis también considera la vida personal del director. Para comprender el universo cinematográfico de Bergman, se tuvo en cuenta el visionado de un número considerable de sus filmes, así como la revisión de publicaciones en torno al director, el cine y las variables escogidas -el luteranismo, el existencialismo y el entorno sueco. A lo largo del trabajo se realizaron entrevistas a expertos de diversas disciplinas, que -desde sus perspectivas particulares- dieron luces para estudiar la obra de Bergman. La primera parte de este trabajo elabora las definiciones de las dos matrices de investigación a la luz de las variables mencionadas. El segundo y tercer capítulo presentan el análisis de las dos películas, Fresas salvajes y Persona, respectivamente, además de establecer semejanzas y diferencias entre ambos filmes. Los resultados de esta investigación indican cómo la interpretación de Bergman del encuentro con uno mismo y las relaciones humanas varía considerablemente en su obra y cómo se manifiestan estos cambios a través del uso de los recursos cinematográficos.

Tableau d'honneur de la Faculté des études supérieures, 2018-2019 / Dans un article récent de Aleman, Hartz, McCarthy et Richter, les auteurs ont montré que toute fonction dans un espace avec la propriété de Pick complète peut s’écrire comme un quotient de deux multiplicateurs. Ce résultat était un des deux points clé manquant dans la démonstration d’une version du théorème de Gleason–Kahane–Zelazko pour l’espace de Dirichlet. Le but de ce mémoire est de développer la théorie des espaces de Hilbert à noyau reproduisant et d’utiliser celle-ci afin d’étudier trois espaces importants de fonctions holomorphes sur D, soit l’espace de Hardy, l’espace de Dirichlet et l’espace de Bergman, et de bien comprendre le résultat de Aleman, Hartz, McCarthy et Richter. On est par la suite en mesure de démontrer le théorème GKZ pour l’espace de Dirichlet. iii

Dans la première partie de ma thèse, il est démontré, dans les espaces de Banach et de Fréchet de suites, un résultat d'existence d'un sous-espace fermé de dimension infinie dont les éléments non-nuls sont des séries universelles.La deuxième partie est consacrée à l'étude des opérateurs de composition sur des espaces de fonctions holomorphes de plusieurs variables complexes. Dans un premier temps, le spectre et la dynamique des opérateurs de composition hyperboliques sur les espaces de Hardy de la boule sont décrits complètement.Dans un second temps, la continuité et la compacité des opérateurs de composition sur les espaces de Hardy-Orlicz et de Bergman-Orlicz de la boule sont caractérisées. On en déduit en particulier l'existence d'une classe de fonctions d'Orlicz définissant des espaces du type précédent sur lesquels tout opérateur de composition est continu. / In the first part of my thesis, a result on the existence of a closed infinite-dimensional subspace, whose non-zero elements are universal series, is given in Banach and Fréchet spaces framework.The second part is devoted to the study of composition operators on spaces of several variables analytic functions. First, the spectrum and the dynamics of hyperbolic composition operators acting on Hardy spaces on the ball are completely described.Second, continuity and compactness of composition operators on Hardy-Orlicz and Bergman-Orlicz spaces on the ball are characterized. In particular, we deduce from the treatment of the continuity that there exists a class of Orlicz functions which define Hardy-Orlicz and Bergman-Orlicz spaces, on which every composition operator is bounded.

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