Large Field Cutoffs Make Perturbative Series Converge

For lambda phi^4 problems, convergent perturbative series can be obtained by cutting off the large field configurations. The modified series converge to values exponentially close to the exact ones. For lambda larger than some critical value, the method outperforms Pade approximants and Borel summations. We discuss some aspects of the semi-classical methods used to calculate the modified Feynman rules and estimate the error associated with the procedure. We provide a simple numerical example where the procedure works despite the fact that the Borel sum has singularities on the positive real axis.Comment: Lattice2001(spin), 3 pages, 4 figures, uses espcrc2.st

Regularization of Diagrammatic Series with Zero Convergence Radius

The divergence of perturbative expansions for the vast majority of macroscopic systems, which follows from Dyson's collapse argument, prevents Feynman's diagrammatic technique from being directly used for controllable studies of strongly interacting systems. We show how the problem of divergence can be solved by replacing the original model with a convergent sequence of successive approximations which have a convergent perturbative series. As a prototypical model, we consider the zero-dimensional $\vert \psi \vert^4$ theory.Comment: 4 pages, 3 figure

Effective Operator Treatment of the Anharmonic Oscillator

We analyse the one dimensional quartic oscillator using the effective operator methodology of Lee and Suzuki. We reproduce known results for low lying energy eigenvalues.Comment: 9 Pages, Extended version with new references. To appear in Phys.ReV.

Zhang Yimou's 'Blood simple':cannibalism, remaking and translation in world cinema

Zhang Yimou’s A Woman, A Gun and A Noodle Shop (2009) remakes the Coen brothers’ Blood Simple (1984) in a way that re-imagines the earlier film in a Chinese setting, adapting and recreating the narrative, but the film cannot be regarded as being aimed solely at a Chinese audience, as it was also released in the United States and United Kingdom. Drawing from translation studies and film studies, this article analyses how Zhang’s film adapts its source material, particularly its tendency to make explicit elements that were left implicit in the source text. The idea of cannibalization, from Brazilian modernist theory, helps explain the ambiguous orientation of the remake as both homage to and localization of the source text. This hybridity was not well received by American audiences and shows how the movie’s connection to both Zhang and the Coens leads to a dual voice in the film. The analysis demonstrates how translation and cross-cultural adaptation enrich ideas of world cinema