scholarly journals Bargmann-Michel-Telegdi equation and one-particle relativistic approach

1996 ◽  
Vol 111 (7) ◽  
pp. 855-862 ◽  
Author(s):  
A. Della Selva ◽  
J. Magnin ◽  
L. Masperi
2013 ◽  
Vol 28 (29) ◽  
pp. 1350147 ◽  
Author(s):  
TAKESHI FUKUYAMA ◽  
ALEXANDER J. SILENKO

General classical equation of spin motion is explicitly derived for a particle with magnetic and electric dipole moments in electromagnetic fields. Equation describing the spin motion relative to the momentum direction in storage rings is also obtained.


1988 ◽  
Vol 483 (3-4) ◽  
pp. 479-492 ◽  
Author(s):  
M. Lopez-Quelle ◽  
S. Marcos ◽  
R. Niembro ◽  
A. Bouyssy ◽  
Nguyen Van Giai

2006 ◽  
Vol 15 (07) ◽  
pp. 1347-1356
Author(s):  
ZHONG-YU MA ◽  
BAO-QIU CHEN ◽  
JUN LIANG ◽  
LI-GANG CAO

A microscopic analysis of the asymmetry energy is performed through the investigation of nuclear giant resonances in the relativistic approach. Nuclear ground state properties are calculated in an extended relativistic mean-field theory plus BCS method, where the contribution of the resonant continuum to pairing correlations is properly treated. The nuclear giant resonances are investigated in the relativistic random phase approximation (RRPA) or quasi-particle RRPA. Special emphases are paid to the correlation between the giant dipole resonance or pygmy resonance and the density dependence of the asymmetry energy.


1991 ◽  
Vol 43 (3) ◽  
pp. 1275-1289 ◽  
Author(s):  
Sultana N. Nahar ◽  
J. M. Wadehra

2021 ◽  
pp. 9-30
Author(s):  
Daniel Sheehy

What happens when an ethnographic, cultural relativistic approach to arts funding runs head-on into a “fine arts” approach governed by assumptions of excellence, appropriate targets of funding, and methods of distributing funds? This chapter, based on twenty-three years (1978–2000) working at the National Endowment for the Arts, will respond to this question through my personal conceptual and methodological challenges and experiences. When the National Endowment for the Arts and National Endowment for the Humanities were created in 1965, there was talk of creating a third endowment for folklore. This effort was unsuccessful, but it points to the belief at the time that American folk art traditions would not be well served by the federal endowments. There was much truth to this, as I and my colleagues regularly bumped into “glass ceilings and walls” that silently worked against us in supporting our field of hundreds of cultural traditions and thousands of art forms. My ethnomusicological training and experience were invaluable, not only in understanding the art forms and responding to their needs, but also understanding the biases of the institutional culture in which we were housed. At the same time, while certain aspects of my training at UCLA helped in navigating the waters of arts funding, much of the knowledge I applied to my work was learned “on the job” in extra-academic activities and mentorships rather than in university courses and seminars. This line of reflection will yield observations and recommendations to improve training and to increase ethnomusicology’s applicability and social and cultural relevance.


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