scholarly journals A transformation formula related to Dirichlet L-functions with principal character

2012 ◽  
Vol 53 ◽  
Author(s):  
Aidas Balčiūnas

We prove a transformation formula for the function for the exponential sum involving the divisor function. This formula can be applied to obtain meromorphic continuation for the Mellin transform of the square of Dirichlet L-function with principal character.

2013 ◽  
Vol 54 ◽  
Author(s):  
Aidas Balčiūnas

We prove a transformation formula for the exponential sum involving the divisor function, and primitive character modulo q. This formula can be applied to obtain meromorphic continuation for the Mellin transform of the square of Dirichlet L-function with primitive character.


2018 ◽  
Vol 112 (3) ◽  
pp. 261-268
Author(s):  
D. A. Goldston ◽  
M. Pandey

2014 ◽  
Vol 19 (5) ◽  
pp. 706-717
Author(s):  
Aidas Balčiūnas ◽  
Darius Šiaučiūnas

In the paper, meromorphic continuation for the modified Mellin transform of Dirichlet L-functions with primitive character is obtained.


2009 ◽  
Vol 27 (1) ◽  
pp. 28-64 ◽  
Author(s):  
Hanna Järvinen

Three-dimensional theatrical space is often taken for granted as a precondition of dance. Already in 1912, the choreographer Vaslav Nijinsky provoked much discussion with a work that seemingly turned the performance into a moving, two-dimensional picture. L'Après-midi d'un Faune has achieved notoriety because of the objections some contemporary critics raised against the ‘immoral’ behaviour of the principal character, but I argue the style of the work brought about an important shift in how dancing was conceptualised as something composed by a choreographic author.


2011 ◽  
pp. 32-38
Author(s):  
Agata Sadkowska-Fidala

Sixtine by Remy de Gourmont marks the refusal of nature and tangible reality and the choice of imagination to the detriment of reality. Its principal character, Hubert d’Entragues is a faithful disciple of idealism of symbolism. Since he chooses to think rather that to live, it is not surprising that the plot of the novel is almost nonexistent. The plot develops around of d’Entragues’ desire to win the beautiful Sixtine, which is in itself condemned to failure since he is doing nothing to reach her and refuses to take any effort. The woman, who could have served as the principal impulse of the plot, is practically inexistent in this story (though it is a passionate story) and is replaced by the ideal woman: the story is doubled by the second story, e.g. a novel written by the character which is a transposition of his “cerebral” relation with Sixtine and a realisation of presence of the latter. Art replaces life and life does not exist in itself. It is shaped by thought. But the chosen absence of any facts of life is fruitful: it gives birth to a novel. It is a story of a prisoner in love with the statute of the Virgin which he sees while taking a daily walk. In this novel the carnal accomplishment is not necessary in order for a true and sincere passion to develop and the satisfaction of desire may destroy the dream and the ideal.


2021 ◽  
pp. 1-20
Author(s):  
K. PUSHPA ◽  
K. R. VASUKI

Abstract The article focuses on the evaluation of convolution sums $${W_k}(n): = \mathop \sum \nolimits_{_{m < {n \over k}}} \sigma (m)\sigma (n - km)$$ involving the sum of divisor function $$\sigma (n)$$ for k =21, 33, and 35. In this article, our aim is to obtain certain Eisenstein series of level 21 and use them to evaluate the convolution sums for level 21. We also make use of the existing Eisenstein series identities for level 33 and 35 in evaluating the convolution sums for level 33 and 35. Most of the convolution sums were evaluated using the theory of modular forms, whereas we have devised a technique which is free from the theory of modular forms. As an application, we determine a formula for the number of representations of a positive integer n by the octonary quadratic form $$(x_1^2 + {x_1}{x_2} + ax_2^2 + x_3^2 + {x_3}{x_4} + ax_4^2) + b(x_5^2 + {x_5}{x_6} + ax_6^2 + x_7^2 + {x_7}{x_8} + ax_8^2)$$ , for (a, b)=(1, 7), (1, 11), (2, 3), and (2, 5).


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