Meson properties in an extended nonlocal NJL model

We consider a non-local version of the NJL model, based on a separable quark-quark interaction. The interaction is extended to include terms that bind vector and axial-vector mesons. The non-locality means that no further regulator is required. Moreover the model is able to confine the quarks by generating a quark propagator without poles at real energies. Working in the ladder approximation, we calculate amplitudes in Euclidean space and discuss features of their continuation to Minkowski energies. Conserved currents are constructed and we demonstrate their consistency with various Ward identities. Various meson masses are calculated, along with their strong and electromagnetic decay amplitudes. We also calculate the electromagnetic form factor of the pion, as well as form factors associated with the processes γγ* → π0 and ω → π0γ*. The results are found to lead to a satisfactory phenomenology and lend some dynamical support to the idea of vector-meson dominance.

Meson properties in an extended nonlocal NJL model

A nonlocal version of the NJL model is investigated. It is based on a separable quark-quark interaction, as suggested by the instanton liquid picture of the QCD vacuum. The interaction is extended to include terms that bind vector and axial-vector mesons. The nonlocality means that no further regulator is required. Moreover the model is able to confine the quarks by generating a quark propagator without poles at real energies. Features of the continuation of amplitudes from Euclidean space to Minkowski energies are discussed. These features lead to restrictions on the model parameters as well as on the range of applicability of the model. Conserved currents are constructed, and their consistency with various Ward identities is demonstrated. In particular, the Gell-Mann-Oakes-Renner relation is derived both in the ladder approximation and at meson loop level. The importance of maintaining chiral symmetry in the calculations is stressed throughout. Calculations with the model are performed to all orders in momentum. Meson masses are determined, along with their strong and electromagnetic decay amplitudes. Also calculated are the electromagnetic form factor of the pion and form factors associated with the processes gamma gamma* --> pi0 and omega --> pi0 gamma*. The results are found to lead to a satisfactory phenomenology and demonstrate a possible dynamical origin for vector-meson dominance. In addition, the results produced at meson loop level validate the use of 1/Nc as an expansion parameter and indicate that a light and broad scalar state is inherent in models of the NJL type.

Watching the words: drama and poems

Some poems are inherently dramatic due to their narrative content or the events, characters, places and emotions that are their subject. Others have the potential for dramatisation because of some aural or visual quality of their poetic form. However, if dramatising poems is to be meaningful and effective children need to be taught something about the art form of drama rather than just being left to their own devices. This chapter explores the learning potential of considering the printed text of a poem as a notation of sound, movement, gesture and use of space. The chapter recognises a progression from simple nursery rhymes to the sophisticated use of poetic language in different types of literature that is mirrored in the journey from infants’ clapping games to the dramatic juxtaposition of aural and visual images in theatre and the performing arts.

Incense and insensibility: Austin on the 'non-seriousness' of poetry

What is at stake when J. L. Austin calls poetry ‘non-serious’, and sidelines it in his speech act theory? (I). Standard explanations polarize sharply along party lines: poets (e.g. Geoffrey Hill) and critics (e.g. Christopher Ricks) are incensed, while philosophers (e.g. P. F. Strawson; John Searle) deny cause (II). Neither line is consistent with Austin's remarks, whose allusions to Plato, Aristotle and Frege are insufficiently noted (III). What Austin thinks is at stake is confusion, which he corrects apparently to the advantage of poets (IV). But what is actually at stake is the possibility of commitment and poetic integrity. We should reject what Austin offers (V).

Parent and child perspectives on the nature of anxiety in children and young people with Autism Spectrum Disorders: a focus group study

Anxiety disorders are common among children and young people with Autism Spectrum Disorders (ASD). Despite growing knowledge about the prevalence, phenomenology and treatment of anxiety disorders, relatively little is understood about the nature and impact of anxiety in this group and little is known about autism-specific factors that may play a role in the increased prevalence of anxiety disorders. In this exploratory study, we report on a series of 5 focus groups with 17 parents of children and adolescents with ASD and anxiety. Across groups, parents gave strikingly similar descriptions of the triggers and behavioural signs associated with anxiety. Another consistent finding was that many parents reported that their children had great difficulty expressing their worries verbally and most showed their anxiety through changes in their behaviour. The impact of anxiety was reported to often be more substantial than the impact of ASD itself. The implications of the focus group findings are discussed in relation to existing literature.

Shear banding in molecular dynamics of polymer melts

In order to establish constitutive equations for a viscoelastic fluid uniform shear flow is usually required. However, in the last 10 years S. Q. Wang and co-workers have demonstrated that some entangled polymers do not flow with the uniform shear rate as usually assumed, but instead choose to separate into fast and slow flowing regions. This phenomenon, known as shear banding, causes flow instabilities and in principle invalidates all rheological measurements when it occurs. In this Letter we report the first observation of shear banding in molecular dynamics simulations of entangled polymer melts. We show that our observations are in a very good agreement with the phenomenology developed by Fielding and Olmsted. Our findings provide a simple way of validating the empirical macroscopic phenomenology of shear banding. © 2012 American Physical Society

‘The Making of the Book’: Roy Fisher, the Circle Press and the poetics of book art

Between 1972 and 2001, the English late-modernist poet Roy Fisher provided the text for nine separate artist's books produced by Ron King at the Circle Press. Taken together, as Andrew Lambirth has written, the Fisher-King collaborations represent a sustained investigation of the various ways in which text and image can be integrated, breaking the mould of the codex or folio edition, and turning the book into a sculptural object. From the three-dimensional pop-up designs of Bluebeard's Castle (1973), each representing a part of the edifice (the portcullis, the armoury and so on), to ‘alphabet books’ such as The Half-Year Letters (1983), held in an ingenious french-folded concertina which can be stretched to over a metre long or compacted to a pocketbook, the project of these art books is to complicate their own bibliographic codes, and rethink what a book can be. Their folds and reduplications give a material form to the processes by which meanings are produced: from the discovery, in Top Down, Bottom Up (1990), of how to draw on both sides of the page at the same time, to the developments of The Left-Handed Punch (1987) and Anansi Company (1992), where the book becomes first a four-dimensional theatre space, in which a new version of Punch and Judy is played out by twelve articulated puppets, and then a location for characters that are self-contained and removable, in the form of thirteen hand-made wire and card rod-puppets. Finally, in Tabernacle (2001), a seven-drawer black wooden cabinet that stands foursquare like a sculpture (and sells to galleries and collectors for over three thousand pounds), the conception of the book and the material history of print are fully undone and reconstituted. This paper analyses how the King-Fisher art books work out their radically material poetics of the book; how their emphasis on collaboration, between artist and poet, image and text, and also book and reader – the construction of meaning becoming a co-implicated process – continuously challenges hierarchies and fixities in our conception of authorship; and how they re-think the status of poetic text and the construction of the book as material object.

"You can see some eagles. And hear the trumpets": the literary and political hinterland of T.S. Eliot's 'Coriolan'

There has been an increased amount of scholarly interest lately in T.S. Eliot's unfinished sequence, Coriolan (1932)—interest drawn from its Shakespearian allusiveness, and from analysis of this writing's particularly rebarbative, jarring poetic. Although, however, the two parts of the sequence published by Eliot are acknowledged as being his nearest approach to poetic commentary upon contemporary political ideas, little criticism exists establishing the hinterland of the political thought, with which Eliot was most familiar, as editor of the Criterion. Coriolan emerges at a time when the lure of fascism pulled hardest at Eliot's sensibility. This article reviews the full political context provided by Eliot's journal, as well as considering the connections between that political engagement and the readings of Shakespeare he was also promulgating through this forum, in order to provide a more complex sense than hitherto of the diverse pressures underlying the unsettled nature of the existing Coriolan poems.

Panaméricas Utópicas: entranced and transient nations in 'I Am Cuba' and 'Land in Trance'

This Chapter looks at two political films, Land in Trance (Glauber Rocha, 1967) and I Am Cuba (Mikhail Kalatozov, 1964), which address the subject of the nation through the enactment of trance. Rejecting all forms of naturalistic account, both films adopt a series of anti-realist devices, such as poetic language, synecdoche, personification, parable and allegory, as a means of expanding the concept of the nation beyond territorial borders and conveying the meaning of revolution through the film form rather than its content.

Paraméricas Utópicas: entranced and transient nations in "I Am Cuba" (1964) and "Land in Anguish" (1967)

This article examines the astonishing similarities between two political films, Land in Trance (Glauber Rocha, 1967) and I Am Cuba (Mikhail Kalatozov, 1964). Both address the subject of revolution through the enactment of trance. Both reject all forms of naturalistic account, adopting a series of anti-realist devices, such as poetic language, synecdoche, personification, parable and allegory, as a means of expanding the concept of the nation beyond territorial borders and conveying the meaning of revolution through the film form, rather than its content. Because there is no evidence that Glauber Rocha had seen I Am Cuba before he shot Land in Trance, these coincidences are treated as an intellectual 'transit' between film-makers whose art was fuelled by cinephilia and the belief in the reality of the film medium.