Impact of non-hydrostatic effects and trapped lee waves on mountain wave drag in directionally sheared flow

The orographic gravity wave drag produced in flow over an axisymmetric mountain when both vertical wind shear and non-hydrostatic effects are important was calculated using a semi-analytical two-layer linear model, including unidirectional or directional constant wind shear in a layer near the surface, above which the wind is constant. The drag behaviour is determined by partial wave reflection at the shear discontinuity, wave absorption at critical levels (both of which exist in hydrostatic flow), and total wave reflection at levels where the waves become evanescent (an intrinsically non-hydrostatic effect), which produces resonant trapped lee wave modes. As a result of constructive or destructive wave interference, the drag oscillates with the thickness of the constant-shear layer and the Richardson number within it (Ri), generally decreasing at low Ri and when the flow is strongly non-hydrostatic. Critical level absorption, which increases with the angle spanned by the wind velocity in the constant-shear layer, shields the surface from reflected waves, keeping the drag closer to its hydrostatic limit. While, for the parameter range considered here, the drag seldom exceeds this limit, a substantial drag fraction may be produced by trapped lee waves, particularly when the flow is strongly non-hydrostatic, the lower layer is thick and Ri is relatively high. In directionally sheared flows with Ri = O(1), the drag may be misaligned with the surface wind in a direction opposite to the shear, a behaviour which is totally due to non-trapped waves. The trapped lee wave drag, whose reaction force on the atmosphere is felt at low levels, may therefore have a distinctly different direction from the drag associated with vertically propagating waves, which acts on the atmosphere at higher levels.

'he perceives himself as a caterpillar […]' constructions of the disabled subject in the critical response to Alfred Hitchcock's 'Rear Window'

This chapter focuses on critical responses to Alfred Hitchcock’s Rear Window, especially their construction of disability. The suggestion is that such criticism takes the disabled body to be both necessary and superfluous to the meaning of the film, a difficulty that, I argue, can be read more widely within film theory. Ever since Christian Metz’s ‘the Imaginary Signifier’, the condition of being ‘bound to a wheelchair’ is understood to have a resonance for theories of film spectatorship, but only ever in a sense that does away with the wheelchair as a mark of difference.

The three faces of bounded reliability: Alfred Chandler and the micro-foundations of management theory

Alfred Chandler, the celebrated business historian, provided detailed descriptions of the reasons for failed human commitments and the managerial tools needed to prevent/remediate such failings in the context of large business firms. Chandler's historical narrative identifies three distinct “faces” of bounded reliability—opportunism, benevolent preference reversal, and identity-based discordance—as the main drivers of commitment failure. Adopting bounded reliability (BRel) as a micro-foundation in management studies will raise the quality and relevance of scholarly recommendations to improve managerial decision making and action, because analysis of BRel challenges closely mirrors the real-world problems facing practicing managers.

Electroweak precision constraints on the Lee-Wick standard model

We perform an analysis of the electroweak precision observables in the Lee-Wick Standard Model. The most stringent restrictions come from the S and T parameters that receive important tree level and one loop contributions. In general the model predicts a large positive S and a negative T. To reproduce the electroweak data, if all the Lee-Wick masses are of the same order, the Lee-Wick scale is of order 5 TeV. We show that it is possible to find some regions in the parameter space with a fermionic state as light as 2.4-3.5 TeV, at the price of rising all the other masses to be larger than 5-8 TeV. To obtain a light Higgs with such heavy resonances a fine-tuning of order a few per cent, at least, is needed. We also propose a simple extension of the model including a fourth generation of Standard Model fermions with their Lee-Wick partners. We show that in this case it is possible to pass the electroweak constraints with Lee-Wick fermionic masses of order 0.4-1.5 TeV and Lee-Wick gauge masses of order 3 TeV.

Racial Conflict in the United States of America : A Deconstructive Perspective on Native Speaker by Changrae Lee

Written about the time of the Golden Venture incident, Chang-rae Lee’s Native Speaker makes a particular reference to that incident, whereby implying that particular immigrants, on the grounds of their racial identities, are mistreated and considered as aliens by some Americas. While some whites discriminate against immigrants, there is widespread ethnic tension between Korean Americans and African Americans. Significantly, racial conflict between Koreans and blacks and the racist attitude of some whites toward immigrants are mirrored in the relationship between the Korean-American protagonist Henry and his American wife Lelia. That is, due to their different racial identities they do not understand each other and they always argue. However, toward the end of the novel, Henry and Lelia come to understand each other. While ethnic conflict between Koreans and blacks and certain whites’ discriminatory attitudes toward immigrants is serious one, the novel suggests the unimportance of racial identity. In other words, the novel concludes that there is no discriminatory treatment of immigrants and, in fact, every one is a native Speaker in America. In the novel there is no message of how racial conflict could be resolved. However, this essay suggests that by investigating how the tension between Henry and Lelia is resolved, one could suggest a solution for the ethnicity problem in America and in real life.

Théâtre du Grand-Guignol : Les mécanismes de la peur dans deux pièces du théâtre médical d’André de Lorde et Alfred BinetL’Obsession et Une leçon à la Salpêtrière .

Le Grand-Guignol n’a reçu que peu d’attention critique sérieuse jusqu’à la fin des années 1980. Ce petit théâtre a pendant 65 ans, de 1897 à 1962, offert des pièces d’un genre nouveau mêlant terreur, violence et souvent érotisme. Le succès était au rendez-vous et le Théâtre du Grand-Guignol est longtemps resté une attraction incontournable de Paris. Les pièces choisies pour ce mémoire sont issues de ce répertoire et ont cela de particulier qu’elles ont été écrites en collaboration entre un écrivain, André de Lorde, et un psychologue, Alfred Binet. Malgré leurs différences, ces pièces ont une constante, un point commun : elles suscitent toutes la peur chez le spectateur. C’est précisément la façon dont Binet et de Lorde établissent cette peur à travers leurs pièces qui sera l’objet d’étude de ce mémoire. Ce mémoire se limite à l’analyse de deux œuvres en particulier : L’Obsession, et Une leçon à la Salpêtrière. Appréhender la notion de peur dans une œuvre théâtrale impose de réfléchir non seulement aux thèmes développés mais également à la construction dramatique du récit et à sa mise en scène. Dans le cas spécifique d’une pièce Grand-Guignol, il y aura une dimension supplémentaire à inclure : ce que l’on peut appeler « l’expérience Grand-Guignol ». De quelles façons le fait même d’aller voir une pièce dans ce théâtre participait-il à l’anticipation et au sentiment de peur nécessaire à l’efficacité des pièces ?  Après un bref rappel de l’histoire du Grand-Guignol, les causes externes comme le quartier de Montmartre, mais aussi les habiles coups publicitaires des premiers directeurs artistiques ainsi que la configuration du théâtre lui-même sont étudiées pour montrer comment elles ont largement contribué à créer un véritable mythe autour du Grand-Guignol. Dans la deuxième partie, une analyse spécifique des deux pièces mentionnées précédemment est faite. Les questions suivantes ont été posées : sur quels thèmes pouvaient bien jouer les auteurs pour toucher leur public ? En quoi ces thèmes reflétaient-ils les peurs de l’époque, c’est-à-dire de la « Belle Epoque » ? Dans la dernière partie, une analyse textuelle et scénique a été faite au cours de laquelle il a été tenté de comprendre comment les auteurs provoquent et entretiennent la peur et l’angoisse à travers à la fois la construction dramatique des pièces et leurs jeux de scène.

Cedric Gael Bryant, Lee Family Professor of English

Cedric Gael Bryant, Lee Family Professor of English, reading Beloved: A Novel, by Toni Morrison (PS3563 O8749 B4 1987)