Letteratura scientifica selezionata sul tema "Principe de Mandelstam"

This article is dedicated to the 100th anniversary of the publication of Osip Mandelstam’ “Tristia”. The relevance of this research lies in the anthropological vector of contemporary linguistics, which focuses its attention on the studies of authorial linguistic personality within their world-image. The anthropocentricity of Mandelstam’s poetry can be seen in his active use of lexemes with the semantics of visual, auditory, olfactory, gustatory, and tactile sensations. This article aims to study the structural and semantic content of sensory images in Mandelstam’s poetry. The objectives include estimating the influence of the text’s genre on author’s representation of sensations and experiences. The theoretical part discusses the methodological foundations of the study and highlights the factors influencing the interpretation of creative works. In the practical part, the author describes the methods of lexicalization of the complex of sensory images, connected by an ideological and semantic commonality with the category of emotivism. The sphere of artistic perception is illustrated by quotations from poems. The conclusion presents the results of a contextual analysis of different types of sensations embodied in verbal data. The study of the composition and structure of text units is based on such parameters as the way of perception (sight, hearing, touch, smell, taste), the principle of describing the lyrical situation (direct — figurative), and the principle of relating to different spheres of life (physi­cal, mental, social). The conclusions are the following: 1) in the analyzed material, semantic relations in the field of perception are closely connected with the idea of gravity; 2) lexical means of expressing sensory impressions have a metaphorical and metonymic motivation; 3) sensory complexes are formed at the intersection of visual, acoustic, tactile, olfactory, gustatory images (the listing corresponds to the descending order of word usage); 4) synthetic combination of individual aspects of sensory perception is carried out in various forms (agglutination, amplification, word typing); 5) repeating the Ovid’s genre experiment, Mandelstam created an ori­ginal literary and historical metaphor, through which he told, with his characteristic creative courage, about his time and about himself, using the impressive possibilities of the language as a means of poetic thought.

A simple general argument is given to show that the counterterms in the space-like planar gauge with the Cauchy principal value prescription for the spurious singularities are local. This result is used to obtain limitations on the number and on the kind of nonlocal counterterms occurring in the light-cone case with the Mandelstam-Leibbrandt prescription.

<p>The article approaches the problem of the correlation between the lyrical persons &ldquo;I&rdquo;, &ldquo;You&rdquo;, &ldquo;She&rdquo; in the poem <em>Silentium</em> by Mandelstam. Special attention is paid to the difference between the lyrical &ldquo;She/It&rdquo; (the original muteness, the first principle of life) and the lyrical &ldquo;You&rdquo; (the word, the heart, Aphrodite). The composition of the poem is remarkable for its mirror symmetry, both in terms of sound organization and semantics. The main idea of the poem is a return to the &ldquo;first principle of life&rdquo; through the acquisition of &ldquo;initial muteness&rdquo; by the lyrical &ldquo;I&rdquo;. In this situation, poetry turns out to be both paradoxical and transparadoxical reality, since the demand for &ldquo;silence!&rdquo; is implemented by means of the language (word).</p>

Abstract A formulation of gravitation theory originally proposed by Mandelstam is re-examined. The idea is to avoid the use of coordinates while staying in the continuum. This is accomplished by regarding a point as the end of a path. The theory is then formulated in the space of all paths. The analysis relies on the properties of path deformations. These deformations play the role of gauge transformations in path space. Their algebra is established. It closes if and only if the defining conditions of a riemannian geometry hold (Bianchi identity and vanishing of the antisymmetric part of the Riemann tensor in three of its indices). Two problems faced by Mandelstam are solved: (i) An explicit formula is given which establishes when two neighboring paths end at the same point, (ii) An action principle is given, in terms of a functional integral over path space. It is also indicated how to reconstruct the metric from the curvature through gauge fixing in path space. Brief comments are offered on the possibility of developing an invariant description of loops regarded as boundaries of two-dimensional surfaces.

The article focuses on repeating details, situations, and characters in Fyodor Dostoevsky’s novel The Adolescent. To define such repetitions, the author of the present article uses the term dvoichatka (didymous), which is not a strictly academic definition, having been introduced in literary usage by Osip Mandelstam. This term encompasses all duplications that form the odd “density” of the text of The Adolescent. It is of note, that sometimes such repetitions align unequal elements, figures, and situations of very different scopes. Hence, these duplications create the rhythm of the novel, bonding the text as a whole and rendering it an uneven, shifting nature. The explicit “overcrowding” of the novel, the array of duplicating characters, and the density of the style, inherent to this particular text, all reflect Dostoyevsky’s intention to present a picture of “disorder” – the moral and social disarray that prevailed in post-reform Russia. However, precisely through the disorder of the main character, Arkady Dolgoruky, the reader is directed by the principal idea of the writer: Russia, seized by a rush into renewal, shall re-establish itself on a new and solid foundation. It shall attain prudence (the keyword of the novel) and the foremost role in this process will be played by adolescences, who are open to the future and from whom, according to Dostoyevsky, “generations are formed”.

The paper examines the influence of acmeistic patterns on V. Shalamov-poet’s artistic consciousness. The study involves Shalamov’s epistolary and memoirs heritage (letters to N. Mandelstam, N. Stolyarova, essay “Akhmatova,” etc.), where the author reflected on the significance of acmeistic literary tradition, as well as put forward his own understanding of acmeism — not only as an artistic direction, but also as a kind of “life teaching,” a worldview system. One may trace the inheritance of acmeistic principles in Shalamov’s work at different levels. The paper seeks to identify and systematize acmeistic influences in poet’s consciousness. First of all, we are talking about the installation on the “fight for this world” (according to S. Gorodetsky): the multifaceted representation of the phenomena of environmental reality in its colors, forms and subject details. Shalamov inherits this principle, so that the objects of reality play a paramount role in his poetry system and receive no less distinct and large embodiment than in the work of acmeists. Such an arrangement is carried out by Shalamov in contrasting aspects: on the one hand, the imprinting of terrible world in which man barely survives and to which he seeks to resist; оn the other hand, even in the most adverse circumstances of imprisonment, the poet saw and felt the harmony and greatness of nature. The connection with the acmeistic thinking in Shalamov’s works is also expressed in the fact that his images are almost always substantive and tangible (this feature manifested itself as early as in the first poem of “Kolyma notebooks”). As in the lyrics of acmeists, he often refracted the inner world through external, spiritual experiences — through the prism of the subject plan (the principle that was realized brightly in the lyrics of A. Akhmatova). It is not often that the reader finds “pure” lyrical monologues, much more typical for Shalamov`s creative tactics — to characterize the internal state through a chain of real images. Acmeistic logic could be traced in the interpretation of a number of important topics, among which the theme of creativity (characteristic features of its interpretation are shown in the article on the example of poems “Ode to Loaf,” “May it be clumsily uneven…,” “By ungainly prisoner step...”). The paper addresses such a significant aspect (also linking the poet to the acmeistic tradition) as a bodily nature of the figurative world. Finally, important feature of acmeistic thinking, which is inherited by Shalamov, is the obvious appeal of his creativity to the interlocutor, the focus on the reader (this feature is immanent, certainly, not only in the consciousness of akmeists, but it has fundamental significance in their creativity). The study concludes that among the traditions influenced Shalamov-poet, the acmeist becomes one of the most important, most significant artistic and worldview guidelines.

The purpose of the article is to explore the artistic realization of acmeistic principles in the poetic practice of E. Pluzhnik and D. Falkivsky.Research methods. The comparative-historical method is used in the work, which is realized through the study of the functioning of artistic principles of Russian acmeism in the works of Ukrainian poets E. Pluzhnyk and D. Falkivskkyi. Turning to the cultural-historical method helps to ensure the objectivity of the study, taking into account the facts of the worldview and cultural situation. The study combines receptive and hermeneutic methods, as well as general scientific methods of analysis, synthesis and systematization of the studied materials.Results. Based on the study of T. Pakhareva, which identifies the main categories of acmeistic aesthetics which consist in the synthesis of historicism, cultural centrism and ethicocentrism, the author argues that the works of E. Pluzhnik and D. Falkivskkyi demonstrate typological closeness to an acmeism. The article clarifies that the creative realization of the principle of cultural centrism is realized in the works of E. Pluzhnik and D. Falkivskkyi through the understanding of cultural space as a means of forming ethical values of life. Ethicocentrism is connected with this category of acmeism, which is embodied in a special model of poetic behavior of E. Pluzhnik and D. Falkivskkyi, which fills life acts with aesthetic activity. The connection of history with personal destiny, with moral choice, complex dramatic nature of perception of the events of the revolution and civil war, a sense of responsibility to the future for the cruelty of the modern era and the catastrophic worldview in the works of E. Pluzhnik and D. Falkivskkyi is one of the main markers of acmeist poetry.Conclusions. The article concludes that the poetic practice of E. Pluzhnyk and D. Falkivskkyi demonstrates the appeal to the artistic principles of acmeism, which is realized through the categories of cultural centrism, ethicocentrism, historicism, and testifies to the typological closeness to the work of N. Gumilev, O. Mandelstam and A. Akhmatova.Key words: acmeistic poetics, historicism, culturocentrism, ethicocentrism, lyrical hero, artistic principles, artistic world. Мета. Метою статті полягає у прагненні дослідити художню реалізацію акмеїстичних принципів в поетичній практиці Є. Плужника та Д. Фальківського.Методи дослідження. У роботі використано порівняльно-історичний метод, якій реалізовано через вивчення функціону-вання художніх принципів російського акмеїзму в творах українських поетів Є. Плужника та Д. Фальківського. Звернення до культурно-історичного методу сприяє забезпеченню об’єктивності дослідження, врахування фактів світобачення та культурної ситуації. У дослідженні здійснюється поєднання рецептивного й герменевтичного методів, а також загальнонаукових методів аналізу, синтезу та систематизації досліджуваних матеріалів.Результати. На основі дослідження Т. Пахарєвої, в якому визначені головні категорії акмеїстичної естетики, що полягають в синтезі історизму, культуроцентризму, етікоцентрізму, автор статті доводить, що поезії Є. Плужника та Д. Фальківського демонструють типологічну близькість до російського акмеїзму. У статті з’ясовано, що творча реалізація принципу культуро-центризму реалізовано в творах Є. Плужника та Д. Фальківського через усвідомлення культурного простору як засобу формування етичних цінностей життя. Із цією категорією акмеїзму пов’язаний етікоцентрізм, що втілюється в особливу модель поетичної поведінки Є. Плужника та Д. Фальківського, яка наповнює життєві акти естетичною діяльністю. Зв’язок історії з особистісною долею, з моральним вибором, складний драматичний характер сприйняття подій революції та громадянської війни, відчуття власної відповідальності перед майбутнім за жорстокість сучасної епохи, катастрофізм світосприйняття у творах Є. Плужника та Д. Фальківського – виступають маркерами акмеїстичної поетики.Висновки. У статті зроблено висновок про те, що поетична практика Є. Плужника та Д. Фальківського демонструє звернення до художніх принципи акмеїзму, що реалізовано через категорії культуроцентризму, етікоцентрізму, історизму, та свідчить про типологічну близькість до творчості М. Гумільова, О. Мандельштама та А. Ахматової.Ключові слова: акмеїстична поетика, історизм, культуроцентризм, етікоцентрізм, ліричний герой, художній світ.

The article is devoted to the issue of the synthesis of words and music in the vocal cycle of Rodion Shchedrin «My Age, My Beast» with lyrics by Osip Mandelstam, created by the order of V. Ashkenazi. The author studies the composer’s original approach to combining words and music and concludes that a number of innovations introduced by Shchedrin and transforming the traditional genre of the vocal cycle led to this result. Firstly, the composer uses fragments of Anna Akhmatova’s diaries where she recalls the dramatic moments of O. Mandelstam’s life – his arrest, exile, and death of the poet as the literary basis of the cycle. Fragmentary diary entries by A. Akhmatova in linear and counterpoint combination with the poetic texts by O. Mandelstam give rise to a diversified semantic polyphony of the composition. Secondly, the individual editing principle of R. Shchedrin’s artistic thinking contributes to an increase in the associative perception of O. Mandelstam’s poetry in its synthesis with music. Stages of the drama of R. Shchedrin’s composition, fixing the milestones in life and creative path of the poet are traced in the article. The author of the article analyzes the features of the composer’s musical language, consonant with the complex-associative poetry of O. Mandelstam. The analysis of the vocal cycle of R. Shchedrin became the starting point of the author’s reflections on the tragedy of the greatest poet of the 20th century in the unity of his poems and destiny, on the cruel lessons of Russian history and the victims of the totalitarian system

Abstract Quantum speed limit (QSL), the lower bound of the time for transferring an initial state to a target one, is of fundamental interest in quantum information processing. Despite that the speed limit of a unitary evolution could be well analyzed by either the Mandelstam-Tamm or the Margolus-Levitin bound, there are still many unknowns for the QSL in open systems. A particularly exciting result is about that the evolution time can be made arbitrarily small without violating the time-energy uncertainty principle, whenever the dynamics is governed by a paritytime (PT ) symmetric Hamiltonian. Here we study the QSLs with both PT and anti-PT Hamiltonians, and pose the QSL as a brachistochrone problem on a non-Hermitian Bloch sphere. We then use dissipative trapped-ion qubits to construct the Hamiltonians, where the state evolutions reach the QSL governed by a generalized Margolus-Levitin bound of the non-Hermitian system. We find that the evolution time monotonously decreases with the increase of the dissipation strength and exhibits chiral dependence on the Bloch sphere. These results enable a well-controlled knob for speeding up the state manipulation in open quantum systems, which could be used for quantum control and simulation with non-unitary dynamics.&#xD;

Le sujet principal de cette thèse est l’étude de la propagation des ondes électromagnétiques, en régime harmonique, dans un milieu hétérogène composé d’un diélectrique et d’un matériau négatif (c’est-à-dire avec une permittivité diélectrique négative ε et/ou une perméabilité magnétique négative μ) qui sont séparés par une interface avec une pointe conique. En raison du changement de signe de ε et/ou μ, les équations de Maxwell peuvent être mal posées dans les cadres classiques (basés sur l’espace L2). D’autre part, nous savons que lorsque les deux problèmes scalaires associés, impliquant respectivement ε et μ, sont bien posés dans H1, les équations de Maxwell sont bien posées. En combinant la méthode de la T-coercivité avec l’analyse de Mellin dans les espaces de Sobolev à poids, nous présentons, dans la première partie de ce travail, une étude détaillée de ces problèmes scalaires. Nous prouvons que pour chacun d’entre eux, le caractère bien posé dans H1 est perdu si et seulement si le contraste associé appartient à un ensemble critique appelé intervalle critique. Ces intervalles correspondent aux ensembles de contrastes négatifs pour lesquels des singularités propagatives, aussi appelées ondes de trou noir, apparaissent à l’extrémité de la pointe. Contrairement au cas d’un coin 2D, pour une pointe 3D, plusieurs ondes de trou noir peuvent exister. Des expressions explicites de ces intervalles critiques sont obtenues pour le cas particulier des pointes coniques circulaires. Pour les contrastes critiques, en utilisant le principe de radiation de Mandelstam, nous construisons des cadres fonctionnels dans lesquels le caractère bien posé des problèmes scalaires est restauré. Le cadre physiquement pertinent est sélectionné par un principe d’absorption limite. En outre, nous présentons, dans la deuxième partie de ce travail, une nouvelle méthode numérique pour les problèmes scalaires dans le cas des contrastes non-critiques. Cette approche, contrairement aux techniques existantes, ne nécessite pas d’hypothèses supplémentaires sur le maillage au voisinage de l’interface. La troisième partie de la thèse concerne l’étude des équations de Maxwell avec un ou deux coefficients critiques. En utilisant de nouveaux résultats de potentiels vecteurs dans des espaces de Sobolev à poids, nous expliquons comment construire de nouveaux cadres fonctionnels pour les problèmes électrique et magnétique, qui sont directement liés à ceux obtenus pour les deux problèmes scalaires associés. Si l’on utilise le cadre qui respecte le principe d’absorption limite pour les problèmes scalaires, alors les cadres fournis pour les problèmes électrique et magnétique sont également cohérents avec le principe d’absorption limite. Enfin, la dernière partie porte sur des résultats d’homogénéisation des équations de Maxwell harmoniques et des problèmes scalaires associés dans un domaine 3D qui contient une distribution périodique d’inclusions faites de matériau négatif. En utilisant l’approche de la T-coercivité, nous obtenons des conditions sur les contrastes telles que le processus d’homogénéisation est possible pour les problèmes scalaires et vectoriels. De façon peu intuitive, nous montrons que les matrices homogénéisées associées auxproblèmes limites sont soit définies positives, soit définies négatives
The main subject of this thesis is the study of time-harmonic electromagnetic waves in a heterogeneous medium composed of a dielectric and a negative material (i.e. with a negative dielectric permittivity ε and/or a negative magnetic permeability μ) which are separated by an interface with a conical tip. Because of the sign-change in ε and/or μ, the Maxwell’s equations can be ill-posed in the classical L2 −frameworks. On the other hand, we know that when the two associated scalar problems, involving respectively ε and μ, are well-posed in H1, the Maxwell’s equations are well-posed. By combining the T-coercivity approach with the Mellin analysis in weighted Sobolev spaces, we present, in the first part of this work, a detailed study of these scalar problems. We prove that for each of them, the well-posedeness in H1 is lost iff the associated contrast belong to some critical set called the critical interval. These intervals correspond to the sets of negative contrasts for which propagating singularities, also known as black hole waves, appear at the tip. Contrary to the case of a 2D corner, for a 3D tip, several black hole waves can exist. Explicit expressions of these critical intervals are obtained for the particular case of circular conical tips. For critical contrasts, using the Mandelstam radiation principle, we construct functional frameworks in which well-posedness of the scalar problems is restored. The physically relevant framework is selected by a limiting absorption principle. In the process, we present a new numerical strategy for 2D/3D scalar problems in the non-critical case. This approach, presented in the second part of this work, contrary to existing ones, does not require additional assumptions on the mesh near the interface. The third part of the thesis concerns Maxwell’s equations with one or two critical coefficients. By using new results of vector potentials in weighted Sobolev spaces, we explain how to construct new functional frameworks for the electric and magnetic problems, directly related to the ones obtained for the two associated scalar problems. If one uses the setting that respects the limiting absorption principle for the scalar problems, then the settings provided for the electric and magnetic problems are also coherent with the limiting absorption principle. Finally, the last part is devoted to the homogenization process for time-harmonic Maxwell’s equations and associated scalar problems in a 3D domain that contains a periodic distribution of inclusions made of negative material. Using the T-coercivity approach, we obtain conditions on the contrasts such that the homogenization results is possible for both the scalar and the vector problems. Interestingly, we show that the homogenized matrices associated with the limit problems are either positive definite or negative definite

A moral dilemma is a situation from which you cannot escape without doing yourself some moral damage or injury. Human life is fraught with the moral complexity that gives rise to dilemmas. War and other warlike conflicts generate tangles of moral complexity. Leaders in particular face dilemmas when their obligations to their followers conflict with their more general ethical obligations, but anyone trying to stay alive under Stalin’s tyranny had to tell lies, as Nadezhda Mandelstam explains. Machiavelli gives strong reasons for a prince to lie and make false promises, but we must take his advice with caution. Leaders must be trusted, and lying undermines trust. Still, some lies may be justified, and others may be excused; justification and excuse are not the same. This chapter focuses on situations in which it appears that one must tell a lie; it concludes with a discussion of the reasons that count against lying.