Thirty trials of each of three roughness conditions were examined. The first condition consisted of a baseball pitched so that two of the roughness elements opposed the flow. The second condition consisted of a pitched baseball with four of the roughness elements opposing the flow. The third consisted of a pitched uniformly rough sphere. The conclusions were that roughness elements increase horizontal flight deviations when a baseball rotates about a vertical axis; roughness elements on the surface of a baseball may cause a decrease in the encountered drag forces; linear velocity has a dominating effect on the trajectory of a spinning baseball; previously developed mathematical models do not adequately predict flight deviations.

Magíster en Ciencias de la Ingeniería, Mención Mecánica / Este estudio presenta el análisis de una turbina eólica de eje horizontal que utiliza cilindros en rotación, en lugar de aspas con perfiles alares. El principio de funcionamiento de este generador eólico es el efecto Magnus, el cual sucede cuando las aspas cilíndricas se ponen en rotación y se da una interacción entre la corriente de viento incidente y el aire que es arrastrado por las paredes de los cilindros en movimiento. De esta forma se obtiene la sustentación que pone en movimiento la turbina. El objetivo buscado es caracterizar este tipo de turbina y buscar sus posibles aplicaciones en ambientes urbanos, mediante modelos numéricos y matemáticos que permitan determinar los parámetros de funcionamiento de las turbinas eólicas Magnus de eje horizontal. Se incluye un análisis teórico del efecto Magnus mediante la teoría de Flujo Potencial, con el cual se logra obtener una expresión analítica de la fuerza que produce este efecto sobre un cilindro en rotación, partiendo de un flujo irrotacional, incompresible y no viscoso. Para estudiar el desempeño de la turbina, se propone un método numérico no iterativo, que es implementado en un código que permite predecir el rendimiento de turbinas de eje horizontal, el cual es validado con mediciones experimentales de turbinas convencionales. Posteriormente se adecúa el código para aplicarlo a turbinas Magnus y con ello se obtiene el comportamiento de la curva de potencia ante variaciones en la geometría y cantidad de cilindros, así como las velocidades angulares de la turbina y del aspa cilíndrica. Los resultados de las simulaciones numéricas se procesan para obtener un modelo matemático del comportamiento de la turbina, el cual permite definir parámetros óptimos de operación y establecer un valor máximo de 0,2 para el coeficiente de potencia de este generador eólico, en el marco de su aplicación en ambientes urbanos.

Medicine was an important aspect of ancient Greek philosophy, which also associated sanity with reason. The Platonic and Aristotelian threads initiated then were intertwined in the Middle Ages. Medieval Scholasticism equated insanity with the gift of prophecy and melancholy with heroism. As the seventeenth century opened new horizons in science, characters suffering from mental illness and despair were frequently depicted in Restoration semi-opera and song. The term "mad song" refers to a solo song with continuo accompaniment in which the singer impersonates an individual who is genuinely mad or feigning madness. Songs of despair typically share some characteristics of the earlier lute-song tradition and display a fast harmonic rhythm. Healing songs induce a state of hypnosis during which the mad individual no longer suffers. I attempt to show how seventeenth-century English continuo song reflects the evolution from neo-Platonic philosophy to scientific thinking both thematically and structurally. Early songs of melancholy reflect the notion that the individual afflicted by love-sickness may be regarded as a martyr. Any conscious scheme in form or text underlay is absent, and specific word-painting is minimal. Large-scale text-painting plays a more significant role. In the Purcellian mad song the scene changes radically. Iatromechanical scientific thinking, based on a Cartesian causality that evokes Aristotelian neo-Scholasticism, seems evident in the precision of the word-painting. Composers connect words and figures of speech to specific harmonic structures in the bass. Causality is also apparent in that the loosely defined melancholy of earlier songs is now largely replaced by a realistic depiction of insanity. Scientific progress was reserved for scholars working within university enclaves, but theatergoers could experience a reflection thereof reproduced on stage. Although the theme of madness was essential in seventeenth-century plays, there is a gap in the academic literature with regard to the depiction of mental disease in English vocal music. One must view music and words as cotexts bound to serve Baroque rhetorical purposes. Detailed analysis of these songs throw new light on the medical, cultural and social factors which shaped aesthetics in seventeenth-century England.

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.

<p>In this paper I make an analysis of the play Järnbörd (By burning Iron) written by the swedish author Magnus Dahlström. In this play all the characters has committed horrible crimes wich they easily describes the violence. The starting-point of my analysis is the text itself and not any stage-setting. The reason for this is that I find it interesting to see what can be found in the text only. I investigate if the language itself can tell something.</p><p>Furthermore I discuss Magnus Dahlström´s literary language and if he has any distinguishing quality, and if so what it may be. I examine each characters discourse and I describe certain aspects of the language such as the characters incapability to really interact and how the violence is described.</p><p>I focus on the text and it´s characteristic elements. My main sources is therefore two literature studies. Dramatiskt berättande (“Dramatic telling”) by Mats Ödeen and Drama i tre avsnitt (“Drama in three parts”) by Gunnar Brandell. In particular I use the chapters in which they discuss the language and it´s significance in the world of drama. In the study Det moderna dramats teori 1880-1950 (“Theory of the modern drama 1880-1980”) by Peter Szondi, he writes about how the classical drama went from taking place between persons to take place inside the characters mind. I use this study to discuss Järnbörd as a modern play.</p><p>I also want to discuss the discourse from a philosophical aspect of language. I discuss Emilé Benveniste and his thoughts about language as a ”tool” of communication. Furthermore I discuss Friedrich Nietzsche´s study Om moralens härstamming (Geniality of morals), in which he writes about our human moral as something created and not as some “higher power” that judges us.</p>

In this paper I make an analysis of the play Järnbörd (By burning Iron) written by the swedish author Magnus Dahlström. In this play all the characters has committed horrible crimes wich they easily describes the violence. The starting-point of my analysis is the text itself and not any stage-setting. The reason for this is that I find it interesting to see what can be found in the text only. I investigate if the language itself can tell something. Furthermore I discuss Magnus Dahlström´s literary language and if he has any distinguishing quality, and if so what it may be. I examine each characters discourse and I describe certain aspects of the language such as the characters incapability to really interact and how the violence is described. I focus on the text and it´s characteristic elements. My main sources is therefore two literature studies. Dramatiskt berättande (“Dramatic telling”) by Mats Ödeen and Drama i tre avsnitt (“Drama in three parts”) by Gunnar Brandell. In particular I use the chapters in which they discuss the language and it´s significance in the world of drama. In the study Det moderna dramats teori 1880-1950 (“Theory of the modern drama 1880-1980”) by Peter Szondi, he writes about how the classical drama went from taking place between persons to take place inside the characters mind. I use this study to discuss Järnbörd as a modern play. I also want to discuss the discourse from a philosophical aspect of language. I discuss Emilé Benveniste and his thoughts about language as a ”tool” of communication. Furthermore I discuss Friedrich Nietzsche´s study Om moralens härstamming (Geniality of morals), in which he writes about our human moral as something created and not as some “higher power” that judges us.

Zugl.: Paris, Univ., Diss., 2000.

Thesis (doctoral)--Göteborgs universitet, 1997. / Added page with English abstract inserted. Includes bibliographical references (p. 395-405).

Thesis (Ph.D.)--University of St. Andrews, 2000. / Includes bibliographical references (p. [231]-259) and index.

Thesis (Ph. D.)--Catholic University of America. / "Select bibliography": p. xiii-xiv.