scholarly journals Massive Spinning Relativistic Particle: Revisited under BRST and Supervariable Approaches

2020 ◽  
Vol 2020 ◽  
pp. 1-25
Author(s):  
A. Tripathi ◽  
B. Chauhan ◽  
A. K. Rao ◽  
R. P. Malik
Keyword(s):  
Relativistic Particle ◽  
The Novel ◽  
Ordinary Space ◽  
The Absolute ◽  
The One

We discuss the continuous and infinitesimal gauge, supergauge, reparameterization, nilpotent Becchi-Rouet-Stora-Tyutin (BRST), and anti-BRST symmetries and derive corresponding nilpotent charges for the one 0+1-dimensional (1D) massive model of a spinning relativistic particle. We exploit the theoretical potential and power of the BRST and supervariable approaches to derive the (anti-)BRST symmetries and coupled (but equivalent) Lagrangians for this system. In particular, we capture the off-shell nilpotency and absolute anticommutativity of the conserved (anti-)BRST charges within the framework of the newly proposed (anti-)chiral supervariable approach (ACSA) to BRST formalism where only the (anti-)chiral supervariables (and their suitable super expansions) are taken into account along the Grassmannian direction(s). One of the novel observations of our present investigation is the derivation of the Curci-Ferrari- (CF-) type restriction by the requirement of the absolute anticommutativity of the (anti-)BRST charges in the ordinary space. We obtain the same restriction within the framework of ACSA to BRST formalism by (i) the symmetry invariance of the coupled Lagrangians and (ii) the proof of the absolute anticommutativity of the conserved and nilpotent (anti-)BRST charges. The observation of the anticommutativity property of the (anti-)BRST charges is a novel result in view of the fact that we have taken into account only the (anti-)chiral super expansions.

scholarly journals Reparameterization Invariant Model of a Supersymmetric System: BRST and Supervariable Approaches

2021 ◽  
Vol 2021 ◽  
pp. 1-24
Author(s):  
A. Tripathi ◽  
B. Chauhan ◽  
A. K. Rao ◽  
R. P. Malik
Keyword(s):  
Brst Quantization ◽  
Relativistic Particle ◽  
Brst Symmetry ◽  
Target Space ◽  
Spinning Particle ◽  
1D Model ◽  
Symmetry Transformations ◽  
The Absolute ◽  
The One ◽  
Relativistic Particles

We carry out the Becchi-Rouet-Stora-Tyutin (BRST) quantization of the one 0 + 1 -dimensional (1D) model of a free massive spinning relativistic particle (i.e., a supersymmetric system) by exploiting its classical infinitesimal and continuous reparameterization symmetry transformations. We use the modified Bonora-Tonin (BT) supervariable approach (MBTSA) to BRST formalism to obtain the nilpotent (anti-)BRST symmetry transformations of the target space variables and the (anti-)BRST invariant Curci-Ferrari- (CF-) type restriction for the 1D model of our supersymmetric (SUSY) system. The nilpotent (anti-)BRST symmetry transformations for other variables of our model are derived by using the (anti-)chiral supervariable approach (ACSA) to BRST formalism. Within the framework of the latter, we have shown the existence of the CF-type restriction by proving the (i) symmetry invariance of the coupled Lagrangians and (ii) the absolute anticommutativity property of the conserved (anti-)BRST charges. The application of the MBTSA to a physical SUSY system (i.e., a 1D model of a massive spinning particle) is a novel result in our present endeavor. In the application of ACSA, we have considered only the (anti-)chiral super expansions of the supervariables. Hence, the observation of the absolute anticommutativity of the (anti-)BRST charges is a novel result. The CF-type restriction is universal in nature as it turns out to be the same for the SUSY and non-SUSY reparameterization (i.e., 1D diffeomorphism) invariant models of the (non-)relativistic particles.

Elementy poetyki ludowej w powieści Rzeczy uprzyjemniające. Utopia T. Bołdak-Janowskiej

2020 ◽  
pp. 182-197
Author(s):  
Agnieszka Goral
Keyword(s):  
Fairy Tales ◽  
Text Analysis ◽  
Literary Text ◽  
Source Material ◽  
Human Existence ◽  
The Other ◽  
The Novel ◽  
Literary Works ◽  
The One ◽  
Cultural Features

The aim of the article is to analyse the elements of folk poetics in the novel Pleasant things. Utopia by T. Bołdak-Janowska. The category of folklore is understood in a rather narrow way, and at the same time it is most often used in critical and literary works as meaning a set of cultural features (customs and rituals, beliefs and rituals, symbols, beliefs and stereotypes) whose carrier is the rural folk. The analysis covers such elements of the work as place, plot, heroes, folk system of values, folk rituals, customs, and symbols. The description is conducted based on the analysis of source material as well as selected works in the field of literary text analysis and ethnolinguistics. The analysis shows that folk poetics was creatively associated with the elements of fairy tales and fantasy in the studied work, and its role consists of – on the one hand – presenting the folk world represented and – on the other – presenting a message about the meaning of human existence.

Dombey and Son

2008 ◽  
Author(s):  
Charles Dickens ◽  
Dennis Walder
Keyword(s):  
Family Relationships ◽  
The Sun ◽  
The Novel ◽  
The Earth ◽  
The Future ◽  
Original Illustrations ◽  
The One

Dombey and Son ... Those three words conveyed the one idea of Mr. Dombey's life. The earth was made for Dombey and Son to trade in, and the sun and moon were made to give them light.' The hopes of Mr Dombey for the future of his shipping firm are centred on his delicate son Paul, and Florence, his devoted daughter, is unloved and neglected. When the firm faces ruin, and Dombey's second marriage ends in disaster, only Florence has the strength and humanity to save her father from desolate solitude. This new edition contains Dickens's prefaces, his working plans, and all the original illustrations by ‘Phiz’. The text is that of the definitive Clarendon edition. It has been supplemented by a wide-ranging Introduction, highlighting Dickens's engagement with his times, and the touching exploration of family relationships which give the novel added depth and relevance.

scholarly journals Description of a new barometer, recently fixed up in the apart­ments of the Royal Society; with remarks on the mode hitherto pursued at various periods, and an account of that which is now adopted, for correcting the observed height of the mercury in the society’s barometer

1843 ◽  
Vol 4 ◽  
pp. 1-3
Keyword(s):  
Royal Society ◽  
The Other ◽  
Chemical Effect ◽  
The Absolute ◽  
The One ◽  
And Control ◽  
Usual Scale

The barometer, here alluded to, may in some measure be consi­dered as two separate and independent barometers, inasmuch as it is formed of two distinct tubes dipping into one and the same cistern of mercury. One of these tubes is made of flint glass, and the other of crown glass, with a view to ascertain whether, at the end of any given period, the one may have had any greater chemical effect on the mercury than the other, and thus affected the results. A brass rod, to which the scale is attached, passes through the framework, between the two tubes, and is thus common to both : one end of which is furnished with a fine agate point, which, by means of a rack and pinion moving the whole rod, may be brought just to touch the surface of the mercury in the cistern, the slightest contact with which is immediately discernible; and the other end of which bears the usual scale of inches, tenths, &c.; and there is a separate vernier for each tube. A small thermometer, the bulb of which dips into the mercury in the cistern, is inserted at the bottom : and an eye­piece is also there fixed, so that the agate point can be viewed with more distinctness and accuracy. The whole instrument is made to turn round in azimuth, in order to verify the perpendicularity of the tubes and the scale. It is evident that there are many advantages attending this mode of construction, which are not to be found in the barometers as usu­ally formed for general use in this country. The absolute heights are more correctly and more satisfactorily determined ; and the per­manency of true action is more effectually noticed and secured. For, every part is under the inspection and control of the observer; and any derangement or imperfection in either of the tubes is imme­diately detected on comparison with the other. And, considering the care that has been taken in filling the tubes, and setting off the scale, it may justly be considered as a standard barometer . The pre­sent volume of the Philosophical Transactions will contain the first register of the observations that have been made with this instru­ment.

scholarly journals The Energy-Efficient Processing of Fine Materials by the Micropyretic Synthesis Route

2012 ◽  
Vol 2012 ◽  
pp. 1-8 ◽  
Author(s):  
H. P. Li
Keyword(s):  
Energy Efficient ◽  
Processing Time ◽  
Combustion Temperature ◽  
Processing Parameters ◽  
The Novel ◽  
Diffusion Controlled ◽  
Efficient Processing ◽  
The One ◽  
Processing Techniques ◽  
Diffusion Controlled Reaction

Energy-efficient processing of TiB compound with nanowhiskers by micropyretic synthesis is investigated in this paper. Micropyretic synthesis not only offers shorter processing time but also excludes the requirement for high-temperature sintering and it is considered as the one of the novel energy-saving processing techniques. Experimental study and numerical simulation are both carried out to investigate the correlation of the processing parameters on the microstructures of the micropyretically synthesized products. The diffusion-controlled reaction mechanism is proposed in this study. It is noted that nanosize TiB whiskers only occurred when the combustion temperature is lower than the melting point of TiB but higher than the extinguished temperature. The results generated in the numerical calculation can be used as a helpful reference to select the proper route of processing nanosize materials. The Arrhenius-type plot of size and temperature is used to calculate the activation energy of TiB reaction. In addition to verifying the accuracy of the experimental measures, the reaction temperature for producing the micropyretically synthesized products with nanofeatures can be predicted.

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

Concept of Rivalry in D.H. Lawrence’s Sons and Lovers

2020 ◽  
Vol 12 (4) ◽  
pp. 443-454
Keyword(s):  
Twentieth Century ◽  
Attachment Theory ◽  
Sibling Rivalry ◽  
Oedipus Complex ◽  
The Other ◽  
The Novel ◽  
Men And Women ◽  
Qualitative Pattern ◽  
The One ◽  
Theory Competition

Sons and Lovers (1913) is one of D.H. Lawrence’s most prominent novels in terms of psychological complexities characteristic of most, if not all, of his other novels. Many studies have been conducted on the Oedipus complex theory and psychological relationship between men and women in Lawrence’s novels reflecting the early twentieth century norms of life. This paper reexamines Sons and Lovers from the perspective of rivalry based on Alfred Adler’s psychological studies. The discussion tackles the sibling rivalry between the members of the Morels and extends to reexamining the rivalry between other characters. This concept is discussed in terms of two levels of relationships. First, between Paul and William as brothers on the one hand, and Paul and father and mother, on the other. Second, the rivalry triangle of Louisa, Miriam and Mrs. Morel. The qualitative pattern of the paper focuses on the textual analysis of the novel to show that Sons and Lovers can be approached through the concept of rivalry and sibling Rivalry. Keywords: Attachment theory, Competition, Concept of Rivalry, Favoritism, Sibling rivalry.

A STUDY ON HOW LONG AND SHORT SENTENCES SHOW THE STORY’S PACING IN ANTHONY HOROWITZ’S RAVEN’S GATE

JURNAL SPHOTA ◽  
2019 ◽  
Vol 11 (2) ◽  
pp. 22-31
Author(s):  
I Wayan Sidha Karya ◽  
Ida Bagus Adhika Mahardika
Keyword(s):  
Empirical Study ◽  
Harry Potter ◽  
Sentence Length ◽  
The Novel ◽  
Story Line ◽  
General Audience ◽  
Grammatical Form ◽  
Average Sentence ◽  
The One ◽  
The Impact

Long and short sentences affect the reader’s pace of reading story since they have to farce the complexity of the sentences and words used in it. In this study the impact of the use of long and short sentences on the pace of the story as implemented by Anthony Horowitz, a novelist, in his novel Raven’s Gate, is being explored. Especially the researchers looked at what types of long and short sentences were being used in the novel and how they were building up the story line and their effect on the pace of the story. A sentence with the length of up-to fourteen (14) words is considered to be short and the one over 14 words is considered to be long in spite its grammatical form, whether it is simple or complex. The criteria are based on empirical study as mentioned by Casi Newell in the AJE (American Journal Experts) retrieved from https://www.aje.com/en/arc/editing-tip-sentence-length/, that “the average sentence length in scientific manuscripts is 12-17 words,” with JK Rowling—the writer of Harry Potter—who can be considered to be representative of a modern English writer with a general audience, having the average of 12 words. For convenience we take the liberty of taking 14 words for the longest sort sentences and those which have 15 or more words are considered to be long sentences

“An Indigenous Sovereignty of the Imagination”: Reenvisioning the Great Australian Novel in Alexis Wright's Carpenteria

Genre ◽  
2021 ◽  
Vol 54 (2) ◽  
pp. 195-219
Author(s):  
Liz Shek-Noble
Keyword(s):  
Third Space ◽  
Indigenous Communities ◽  
The Other ◽  
Mutual Understanding ◽  
The Novel ◽  
Two Cultures ◽  
Women Novelists ◽  
Homi Bhabha ◽  
White Settler ◽  
The One

Alexis Wright's second novel, Carpentaria, received critical acclaim upon its publication by Giramondo in 2006. As the recipient of the Miles Franklin Literary Award in 2007, Carpentaria cemented Wright's position as the country's foremost Indigenous novelist. This article places Carpentaria within contemporary discussions of “big, ambitious novels” by contemporary women novelists by examining the ways the novel simultaneously invites and resists its inclusion into an established canon of “great Australian novels” (GANs). While critics have been quick to celebrate the formal innovations of Carpentaria as what makes it worthy of GAN status, the novel nevertheless opposes the integrationist and homogenizing myths that accompany canonization. Therefore, the article finds that Wright's vision of a future Australia involves moments of antagonism and mutual understanding between white settler and Indigenous communities. This article uses the work of Homi Bhabha to argue that Carpentaria demonstrates the emergence of a third space wherein negotiation between these two cultures produces knowledge that is “new, neither the one nor the other.” In so doing, Wright shows the resilience of Indigenous knowledge even as it is subject to transformation upon contact with contradictory ideological and epistemological frameworks.

Fielding and Richardson

PMLA ◽  
1966 ◽  
Vol 81 (5) ◽  
pp. 381-388
Author(s):  
William Park
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Human Nature ◽  
General Type ◽  
Common Ground ◽  
The Other ◽  
The Novel ◽  
Tom Jones ◽  
The Common ◽  
The One

But the Discovery [of when to laugh and when to cry] was reserved for this Age, and there are two Authors now living in this Metropolis, who have found out the Art, and both brother Biographers, the one of Tom Jones, and the other of Clarissa.author of Charlotte SummersRather than discuss the differences which separate Fielding and Richardson, I propose to survey the common ground which they share with each other and with other novelists of the 1740's and 50's. In other words I am suggesting that these two masters, their contemporaries, and followers have made use of the same materials and that as a result the English novels of the mid-eighteenth century may be regarded as a distinct historic version of a general type of literature. Most readers, it seems to me, do not make this distinction. They either think that the novel is always the same, or they believe that one particular group of novels, such as those written in the early twentieth century, is the form itself. In my opinion, however, we should think of the novel as we do of the drama. No one kind of drama, such as Elizabethan comedy or Restoration comedy, is the drama itself; instead, each is a particular manifestation of the general type. Each kind bears some relationship to the others, but at the same time each has its own identity, which we usually call its conventions. By conventions I mean not only stock characters, situations, and themes, but also notions and assumptions about the novel, human nature, society, and the cosmos itself. If we compare one kind of novel to another without first considering the conventions of each, we are likely to make the same mistake that Thomas Rymer did when he blamed Shakespeare for not conforming to the canons of classical French drama.

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