E. E. Cummings' avant-garde drama, Him (1927) is the subject of this study. As poet and painter, Cummings drew a picture of the play for the cover of the "sacrosanct" [his word) first edition. This picture is a unique psychological rebus-mandala. The rebus concept of the ancient Chinese picture puzzle was used by Freud as an indicator of mental illness and progressive cure. The related mandala was adopted by Carl Jung as a universal logo or archetypal symbol of the transcending psyche. Cummings' remarkable rebus-mandala cryptically depicts the themes of Him which involve the archetypes of birth and death and the poet's quest for love and transcendance. The play revolves like a prism in the mirror and its artist's symbol is the mystical mirror mandala showing E. E. Cummings' signature written in a mirror.Voluminous "Notes for the Plays" in the unsurpassed Harvard Houghton Library illuminate mysteries about the misunderstood Him. Cummings' own suggested references for understanding the play are introduced by his comment: "I feel that anyone who is seriously interested in Him will get a good idea of the way it's made if he or she will run through the following references."Chapter One: Cummings' Rubik-cube writing style.Chapter Two: 1. Cummings' "Notes for Him," includes a metaphor study; 2. An examination of his authorized shortened version of the play which enables a director to prepare a script from this chapter; 3. Structure: The word or logos as the "microcosm in the macrocosm."Chapter Three: 1. The unique mirror mandala is a crystal or visual equivalent of the play. 1 t is a logo of Him as a universal monomyth. 2. Extensive references that key the acts and scenes of Him to twelve noted psychological sources.Chapter Four: 1. Explication of the twenty-one scenes in order (100 pp.) on four planes or levels: Freudian, Jungian archetypal theory, literary and poetic considerations and transcendental theory 2. Play is concluded by a ten-column matrix showing inter-relationships of structure, theme, staging, and characters for a skeletal summary (coda) for the intricate play.Bibliography and 103 topics for research papers. The play is well suited to dramatic theory and seminar study.

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En optique quantique, la nature quantique de la lumière se manifeste dans des effets d’ordonnement d’opérateurs, inexistants en optique classique. Cette thèse est consacrée à une étude détaillée de ce type d’effets d’ordonnement dus à la dynamique des systèmes physiques. Nous considérons deux systèmes en particulier, 1) la conversion paramétrique descendante dans un milieu χ (2), et 2) un ion dans un piège de Paul entraı̂né par un champ classique; décrit par un modèle de Jaynes-Cummings non linéaire. Les effets d’ordonnement dans ces systèmes dynamiques sont étudiés via le développement et l’approximation de Magnus. Dans le scénario de conversion paramétrique descendante, nous considérons deux cas, (i) une pompe monochromatique (où une solution exacte de la dynamique est connue) et (ii) une pompe spectralement large. Pour la pompe monochromatique, nous écrivons explicitement la décomposition de Bloch-Messiah et obtenons les modes propres et les paramètres de compression. Nous comparons ces résultats exacts avec les approximations de Magnus en incluant certains ou aucun effets d’ordonnement. Nous effectuons une analyse similaire pour la pompe spectralement large lorsque la décomposition de Bloch-Messiah ne peut être évaluée que numériquement. Pour le modèle dynamique de Jaynes-Cummings non linéaire, nous analysons, à nouveau, les effets d’ordonnement via des approximations de Magnus et obtenons la solution exacte, qui n’avait pas été publiée dans la littérature auparavant. Enfin, nous évaluons pour la première fois les limites supérieures exactes (qui dépassent les limites suffisantes) de la convergence du développement de Magnus pour les deux modèles dynamiques à solutions exactes. / In quantum optics, the quantum nature of light manifests itself in operator ordering effects, nonexistent in classical optics. This thesis is devoted to a detailed study of such ordering effects that are due to the dynamics of physical systems. We consider two systems in particular, 1) parametric down-conversion in a χ(2) medium, and 2) an ion in a Paul trap driven by a classical field; described by a nonlinear Jaynes-Cummings model. Ordering effects in these dynamical systems are studied via the Magnus expansion and approximation. In the parametric down-conversion scenario we consider two cases, (i) a monochromatic pump (where an exact solution of the dynamics is known), and (ii) a spectrally broad pump. For the monochromatic pump, we write explicitly the Bloch-Messiah decomposition and obtain the squeezing eigenmodes and parameters. We compare these exact results with the Magnus approximations that contain some or no ordering effects. We perform similar analysis for the spectrally broad pump, where the Bloch-Messiah decomposition can only be evaluated numerically. For the dynamics in the nonlinear Jaynes-Cummings model we again analyze ordering effects via Magnus approximations and obtain the exact solution, which has not been published in the literature before. Lastly, we evaluate the exact upper bounds (which exceed sufficient bounds) of convergence of the Magnus expansion for the two models with exact solutions, for the first time.

Dominick Argento (1927-) is one of America¡¦s most distinguished contemporary composers. He composed ten song cycles. Songs about Spring is his first vocal work which composed in 1950 and 1955. This song cycle contains five songs. Argento selected five poems about spring season from American poem Edward Estlin Cummings¡¦ collections of poem, and named the song cycle as Songs about Spring. The study of the lecture recital document contains five main sections: the biography about Argento, the characteristics of Argento¡¦s art songs, a brief introduction of poet Edward Estlin Cummings, the compositional background of Songs about Spring, and a performance analysis of Songs about Spring. The purpose of this study is to explore how Argento made use of music device to express variable sentences, telescoped words, harmony of sound and poem¡¦s frame of mind from Edward Estlin Cummings¡¦s poem, and expects to reinforcing profundity in performance.

Thesis (M.M.)--University of North Texas, 2003. / Duration: ca. 19:00. For 9 part solo soprano, where one performer records each of 9 vocal lines (1st movement); electro-acoustics (2nd movement). Includes bibliographical references (p. xxxi).

E.E. Cummings' modernist poetry roots itself in nature. That it has not received overt ecosemiotic ("ecocritical") attention is surprising. This thesis reads Cummings' poetic oeuvre as found in his Complete Poems (1994) with a view to its ecological (whole, naturally interpenetrating) scope and dynamics. It builds upon existing criticism of Cummings' natural view and nature poetry (Norman Friedman). Although it mainly adheres to a close reading of the poems themselves, it also makes use of secondary sources such as Cummings' prose, notes, painting, and letters, in support of the ecological argument. It also draws from a broad basis of sources including various strands of ecological discourse: especially "ecocriticism" (William Howarth) as well as cultural ecology, deep ecology, and -- on an interdisciplinary basis -- ecology proper (Michael Begon). The thesis incorporates texts on modernist orientalism (Eric Hayot) since it argues that Cummings' ecology and his unique version of Taoism radically inform one another. Because relatively few sources exist that relate modernist poetry to nature (Robert Langbaum) the thesis consults a variety of modernist criticisms (Jewel Spears Brooker) with a view to the relations between the modernist sign and its outside natural context. Drawing upon sources further a field (Umberto Eco) the thesis offers a theoretical overview of the complication of natural context in the modem mindset as found in mainstream modernist discourse, structuralism (A.J. Greimas), and post-structuralism (Jacques Derrida). Amounting to a "semiotic fallacy", such a broad semiotic complication of sign-nature relations accentuates the importance of Cummings' poetry which remains at once modern and deeply connected to nature. Against this broad background, and in exploration of a zone of between-ness -- between opposites such as culture versus nature and East versus West -- Cummings' poetry is read hermeneutically to infer its various ecological dynamics. The main questions that the thesis examines are: What is the scope of Cummings' poetic ecology? What are its dynamics? How did critics respond to it? What reciprocal light does it shed on the poetic ecologies of the mainstream modernist poets T.S. Eliot and Ezra Pound? The thesis demonstrates that the extent of Cummings' poetic ecology is considerable: it involves his various poetic categories (such as lyricism, satire, and visual-verbal poems) from early to late in his career, as well as a gradual Taoist crisis in his development (more or less from the 1930s to the 1950s). A sequence of ecological dynamics from Lao Tzu's Tao Te Ching are applied to Cummings' poetry, including humility (smallness and earthiness), flexibility (an osmotic semiosis), serendipity (or synchronicity), a singular ideogrammatic style (Nina Hellerstein), iconicity (Michael Webster), an open-ended cross-stitching of oppositional expectations, and "flow" or signs that open out contextualizing possibilities faster than the reader can close them down. As the thesis further shows, these dynamics ultimately centre on Cummings' third dimension or voice beyond static and entrenched opposites of the relational and oppositional mind. The exploration concludes with a concise examination of additional instances of the third voice such as a yin tendency (restoration of femaleness), followed by an ecosemiotic analysis of two key ecological poems, the leaf poem (“l(a”) and the hummingbird poem (“I/ never"). The latter acts as an osmotic mandala that carries the modernist sign into active and complete earth, with the reader acting as the creative and collaborating intermediary. The focus then shifts to the critical reception of this poetic ecology, and finds that influential critics (R.P. Blackmur) tended to misappropriate it as a form of non-intellectuality. For example, Cummings' ecological flexibility was perceived as childish sentimentality. The boundaries of Cummings' poetry were perceived not to be "hardened" or "objective" enough. These receptions were based on a particular mainstream modernist view of the intellect, informed by Eliot's objectified and ambivalent early stance. Due to this, critics tended to overlook or dismiss that central value of Cummings' poetry -- its ecology -- in favour of a more predominant and dualistic alienation from and even cynicism towards natural integrity. These in-depth revisitations reveal that Cummings' major minor status embodies an ecological achievement: his poetry managed to move between and beyond the overall dualistic mainstream modernist ecological dilemma that is marked by the major versus minor categorization. Based on this thorough exploration of the elusive ecological dynamism of Cummings' poetry and its critical reception, the thesis turns its focus to Eliot's and Pound's poetry. The early, major works such as The Waste Land (1922) are read from the perspective of Cummings' poetic ecology, informed by the knowledge that a deep-seated double-ness towards ecology would be expected in these major works. An analysis of the mainstream modernist objectification of the sign with its concomitant and sealed-off alienation from its outside context and nature follows - the focus is on selected texts such as "Prufrock", "Tradition and the Individual Talent", and the Cantos. Eliot's and Pound's respective searches for and achievements of a third voice are subsequently examined, as found (for example) in the DA sequence of The Waste Land, 'The Idea of a Christian Society", the Four Quartets, Cathay, and the "Pisan Cantos". Centring on this prevalent and underemphasized third voice, the thesis posits an ecological reconfiguration of Cummings', Eliot's, and Pound's respective modernist projects. It demonstrates that Cummings' poetic ecology is central to the other two poets in terms of this voice. In provisional conclusion the thesis calls for a critical shift towards a more intense engagement with "smaller" modernist poetries such as Cummings', with a view to an increasing understanding of the ubiquitous, complex, and sometimes complicating "green" layer of the modernist poetic palimpsest. / Thesis (Ph.D. (English))--Potchefstroom University for Christian Higher Education, 2003.

E. E. Cummings' reputation as America's pre-eminent avant-garde poet obscures his significant use of schemes and tropes in his traditional and free verse poems. Because of his influence as a sonneteer and lyricist, his poetics constitute an important facet of our modern definition of poetry. However, he did not formulate a coherent statement of his aesthetic theories. Therefore, inductive research is necessary to define "the necessary anything"--those elements which Cummings' practice indicates are essentially poetic.Cummings' traditional poems include his "Epithalamion," ballade-derivations, and a large body of sonnets. All of his sonnets are fourteen lines long; and most maintain line lengths of approximately ten syllables; follow rhyme schemes based on five, six, or seven rhymes; and adhere to traditional rhetorical patterns of development. Deviations from the prescribed scheme include experimental rhymes and rhyme schemes, metrical and rhetorical variations, and a wide variety of subjects and themes. Freedom to deviate from prescribed forms renders the choice to use traditional schemes and tropes significant. Cummings elects to use meter, rhyme, allusion, allegory, personification, metaphor, simile, irony, paradox, onomatopoeia, and economy in his sonnets and free verse.Besides esoteric typography and innovative syntax, half-rhyme and rhetorically significant rhyme and metrical patterns are his trademarks. Additionally, this study demonstrates that Cummings' typography is generally organic and that his aesthetic theories are grounded in the modern romantic movement. While innovation is primary in Cummings' poetics, traditional schemes and tropes are highly significant in the composition and artistic achievement of his poetry. In Cummings' poetry, "the necessary anything" is a product of his formal education in classical and contemporary literatures and his eccentric invention. / Department of English

E.E. Cummings' modernist poetry roots itself in nature. That it has not received overt ecosemiotic ("ecocritical") attention is surprising. This thesis reads Cummings' poetic oeuvre as found in his Complete Poems (1994) with a view to its ecological (whole, naturally interpenetrating) scope and dynamics. It builds upon existing criticism of Cummings' natural view and nature poetry (Norman Friedman). Although it mainly adheres to a close reading of the poems themselves, it also makes use of secondary sources such as Cummings' prose, notes, painting, and letters, in support of the ecological argument. It also draws from a broad basis of sources including various strands of ecological discourse: especially "ecocriticism" (William Howarth) as well as cultural ecology, deep ecology, and -- on an interdisciplinary basis -- ecology proper (Michael Begon). The thesis incorporates texts on modernist orientalism (Eric Hayot) since it argues that Cummings' ecology and his unique version of Taoism radically inform one another. Because relatively few sources exist that relate modernist poetry to nature (Robert Langbaum) the thesis consults a variety of modernist criticisms (Jewel Spears Brooker) with a view to the relations between the modernist sign and its outside natural context. Drawing upon sources further a field (Umberto Eco) the thesis offers a theoretical overview of the complication of natural context in the modem mindset as found in mainstream modernist discourse, structuralism (A.J. Greimas), and post-structuralism (Jacques Derrida). Amounting to a "semiotic fallacy", such a broad semiotic complication of sign-nature relations accentuates the importance of Cummings' poetry which remains at once modern and deeply connected to nature. Against this broad background, and in exploration of a zone of between-ness -- between opposites such as culture versus nature and East versus West -- Cummings' poetry is read hermeneutically to infer its various ecological dynamics. The main questions that the thesis examines are: What is the scope of Cummings' poetic ecology? What are its dynamics? How did critics respond to it? What reciprocal light does it shed on the poetic ecologies of the mainstream modernist poets T.S. Eliot and Ezra Pound? The thesis demonstrates that the extent of Cummings' poetic ecology is considerable: it involves his various poetic categories (such as lyricism, satire, and visual-verbal poems) from early to late in his career, as well as a gradual Taoist crisis in his development (more or less from the 1930s to the 1950s). A sequence of ecological dynamics from Lao Tzu's Tao Te Ching are applied to Cummings' poetry, including humility (smallness and earthiness), flexibility (an osmotic semiosis), serendipity (or synchronicity), a singular ideogrammatic style (Nina Hellerstein), iconicity (Michael Webster), an open-ended cross-stitching of oppositional expectations, and "flow" or signs that open out contextualizing possibilities faster than the reader can close them down. As the thesis further shows, these dynamics ultimately centre on Cummings' third dimension or voice beyond static and entrenched opposites of the relational and oppositional mind. The exploration concludes with a concise examination of additional instances of the third voice such as a yin tendency (restoration of femaleness), followed by an ecosemiotic analysis of two key ecological poems, the leaf poem (“l(a”) and the hummingbird poem (“I/ never"). The latter acts as an osmotic mandala that carries the modernist sign into active and complete earth, with the reader acting as the creative and collaborating intermediary. The focus then shifts to the critical reception of this poetic ecology, and finds that influential critics (R.P. Blackmur) tended to misappropriate it as a form of non-intellectuality. For example, Cummings' ecological flexibility was perceived as childish sentimentality. The boundaries of Cummings' poetry were perceived not to be "hardened" or "objective" enough. These receptions were based on a particular mainstream modernist view of the intellect, informed by Eliot's objectified and ambivalent early stance. Due to this, critics tended to overlook or dismiss that central value of Cummings' poetry -- its ecology -- in favour of a more predominant and dualistic alienation from and even cynicism towards natural integrity. These in-depth revisitations reveal that Cummings' major minor status embodies an ecological achievement: his poetry managed to move between and beyond the overall dualistic mainstream modernist ecological dilemma that is marked by the major versus minor categorization. Based on this thorough exploration of the elusive ecological dynamism of Cummings' poetry and its critical reception, the thesis turns its focus to Eliot's and Pound's poetry. The early, major works such as The Waste Land (1922) are read from the perspective of Cummings' poetic ecology, informed by the knowledge that a deep-seated double-ness towards ecology would be expected in these major works. An analysis of the mainstream modernist objectification of the sign with its concomitant and sealed-off alienation from its outside context and nature follows - the focus is on selected texts such as "Prufrock", "Tradition and the Individual Talent", and the Cantos. Eliot's and Pound's respective searches for and achievements of a third voice are subsequently examined, as found (for example) in the DA sequence of The Waste Land, 'The Idea of a Christian Society", the Four Quartets, Cathay, and the "Pisan Cantos". Centring on this prevalent and underemphasized third voice, the thesis posits an ecological reconfiguration of Cummings', Eliot's, and Pound's respective modernist projects. It demonstrates that Cummings' poetic ecology is central to the other two poets in terms of this voice. In provisional conclusion the thesis calls for a critical shift towards a more intense engagement with "smaller" modernist poetries such as Cummings', with a view to an increasing understanding of the ubiquitous, complex, and sometimes complicating "green" layer of the modernist poetic palimpsest. / Thesis (Ph.D. (English))--Potchefstroom University for Christian Higher Education, 2003.

Thesis (M.M.)--University of North Texas, 2003. / Includes bibliographical references.

Orientador: Antonio Vidiella-Barranco / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Fisica Gleb Wataghin / Made available in DSpace on 2018-08-03T15:39:51Z (GMT). No. of bitstreams: 1 Gomes_AlvaroFernandez_D.pdf: 1463180 bytes, checksum: e7afc315eaab1eeb818ae16a2027e1de (MD5) Previous issue date: 2003 / Resumo: A construção de estados puros do campo eletromagnético é importante não só para o estudo dos fundamentos da mecânica quântica, como a questão do estado gato de Schrõdinger, mas também possui um grande potencial de aplicação, como por exemplo, na computação quântica, na criptografia quântica e nas medidas de alta precisão. Nesta tese, apresentamos três propostas onde o ponto central é o estudo da transferência progressiva de coerência dos átomos para o campo eletromagnético, visando gerar um estado com um alto grau de purificação a partir de um estado de mistura estatística. Para isso utilizamos o micromaser com a interação átomo-campo dado pelo modelo Jaynes-Cummings de dois fótons. No primeiro trabalho consideramos os átomos inicialmente preparados em uma superposição coerente de dois estados (condição necessária para a transferência de coerência átomo-campo) e o campo na cavidade preparado em um estado mistura do. Primeiramente determinamos o melhor tempo de interação de cada átomo para que o estado do campo apresentasse o maior grau de purificação possível. Fixamos esse tempo para todos os átomos e determinamos o grau de pureza do estado final do campo, após N -átomos terem passado pela cavidade. Em nosso segundo trabalho acrescentamos à cavidade um meio não-Iinear tipo Kerr. Utilizando o mesmo procedimento do primeiro caso, obtivemos um menor tempo de interação átomo-campo e um grau de purificação maior para o estado do campo gerado na cavidade, em relação ao primeiro trabalho. Por último, acrescentamos um campo clássico externo interagindo com o átomo dentro da cavidade sem o meio Kerr. Novamente, com o mesmo procedimento dos trabalhos anteriores, verificamos que esse campo, além de influenciar na transferência de coerência átomo-campo, torna desnecessária a preparação dos átomos em uma superposição coerente de dois estados. Visando a caracterização do estado do campo final gerado, foram calculadas a função de coerência de segunda ordem e a quasiprobabilidade conhecida como a função de Husimi (ou função Q) / Abstract: The construction of pure states of the electromagnetic field is important not only for the study of the foundations of the quantum mechanics, such as the question of the Schrõdinger cat states, but also for its potential applications, for example, in quantum computation, quantum criptography and in higher precision measurements. In this thesis, we present three proposals where the central point is the study of the progressive transfer of coherence of atoms to the electromagnetic field, aiming the generation of a state with a higher degree of purity from a mixed state. For this we use the micromaser with the atom-field interaction given by the two-photon Jaynes-Cummings model. In our first work we initially consider atoms prepared in a coherent superposition of two states (necessary condition for the atom-field transfer of coherence) and the field in the cavity prepared in a mixed state. We determine the best interaction time for each atom so that the state of the field presents the highest possible degree of purification. We fix that time for all atoms and determine the degree of purity of the final state of the field, after N -atoms have crossed the cavity. In our second work we add to the cavity a nonlinear Kerr-like medium. Using the same procedure as in the first case, we obtain smaller atom-field interaction times as well as a higher degree of purification for the state of the field generated in the cavity, compared to the first work. Finally, we add an external classical field interacting with the atom inside the cavity without the Kerr medium. Again, with the same procedure of the previous works, we verify that the external field, besides influencing in the atom-field transfer of coherence turns unnecessary the preparation of atoms in a coherent superposition of two states. In order to characterize the state of the generated ( final) field, we have calculated the second order correlation function as well as the quasiprobàbility known as the Husimi function (or Q function) / Doutorado / Física / Doutor em Ciências