Classical solutions of the leading-logarithm approximation with non-trivial topology

Exact solutions of the classical equations corresponding to the leading-logarithm approximation are obtained. They are classified by an (integer) topological number.

Classical motions from pseudoclassical spin-1/2 particle models

The classical trajectory and spin precessions of Bargmann, Michel, and Telegdi are deduced from a pseudoclassical model of a relativistic spin-(1/2) particle. The corresponding deduction from a non- relativistic model is also given.

Pseudoclassical description for a nonrelativistic spinning particle II. Classical content

The pure classical content of a pseudoclassical nonrelativistic model of a spinning particle is studied. The only physical meaningful world line is the one without "Zitterbewegung." Interactions with external electromagnetic fields are also studied.

Deriving the hard thermal loops of QCD from classical transport theory

Classical transport theory is employed to analyze the hot quark-gluon plasma at the leading order in the coupling constant. A condition on the (covariantly conserved) color current is obtained. From this condition, the generating functional of hard thermal loops with an arbitrary number of soft external bosonic legs can be derived. Our approach, besides being more direct than alternative ones, shows that hard thermal loops are essentially classical.

A classical particle in heat bath under the influence of external noise

A very simple model of a classical particle in a heat bath under the influence of external noise is studied. By means of a suitable hypothesis, the heat bath is reduced to an internal colored noise (OrnsteinUhlenbeck noise). In a second step, an external noise is coupled to the bath. The steady state probability distributions are obtained.

On the many-time formulation of classical particle dynamics

Starting from the standard one-time dynamics of n nonrelativistic particles, the n-time equations of motion are inferred, and a variational principle is formulated. A suitable generalization of the classical LieKnig theorem is demonstrated, which allows the determination of all the associated presymplectic structures. The conditions under which the action of an invariance group is canonical are studied, and a corresponding Noether theorem is deduced. A formulation of the theory in terms of n first-class constraints is recovered by means of coisotropic imbeddings. The proposed approach also provides for a better understanding of the relativistic particle dynamics, since it shows that the different roles of the physical positions and the canonical variables is not peculiar to special relativity, but rather to any n-time approach: indeed a nonrelativistic no-interaction theorem is deduced.

Tennessee Williams's Cat on a hot tin roof or the dramatic aptitudes of the goddess Diana

The aim of this article is to show which are the dramatic "yields" of the inclusion of the reference to the goddess Diana in Tennessee Williams's Cat on a Hot tin Roof. In the author's opinion, it does not deal simply with a meaningful reference; on the contrary, the accurate analysis of Williams's text proves that it is a true nuclear and cohesive element of the whole drama.

Was the Classical Tradition Betrayed by J. Ivory's adaptation of E. M. Forster's "Maurice"?

According to Literature and Film studies and from the point of view of the influence of Classical Tradition on Western Culture -Classical Greek Tradition, in this case-, this article is an accurate analysis of the inevitable -to a certain degree- screenwriters betrayals regarding the literary texts that they adapt. However, in spite of being practically inevitable, Dr. Pau Gilabert Barberà indicates which are in his opinion the limits beyond which Ivory/Hesketh-Harvey should have not gone in order not to dilute the Hellenic temper of E. M. Forster's Maurice.

Verí sense antídot per al Sòcrates històric i la tragèdia barroca al Verí del teatre de Rodolf Sirera. (Una dosi extrema de sadisme per aturar els excessos de la ficció teatral).

Socrates' serene attitude before his death -although this is questioned-, as described by Xenophon in his Apologia Socratis becomes for the playwright Rodolf Sirera a useful reference in an effort to reflect boldly on the limits of theatrical fiction in another clear example of the Classical Tradition, including that derived from Baroque Tragedy. However, in this case, it is judged severely to make us more conscious of the risk of turning life into a mere theatrical performance and human beings into actors and actresses in a play they did not write.

La caverna de Josep Palau i Fabre (1952-1969): teatre versus al·legoria filosòfica per a representar i impedir el final tràgic i fosc del lluminós art de pensar.

What is the use of performing the myth of the cave from book VII of the Republic by Plato? Josep Palau i Fabre, considers that, in Plato's dialogues, the speakers are mere instruments at the service of his dialectical goal. The aim of this article is to show how, by turning the myth into a tragedy and also by relying on Heraclitus's conflict or war of opposites, the playwright succeeds in favoring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre's La Caverna, the tragic hero, that is, the released prisoner transformed by the light of Reality and finally killed by his "cavemates" -after having been imprisoned again and having tried to rescue them from their ignorance or shadows-, still leaves to them his powerful experience of the agonistikos thought, which might bear fruit in their life to come.

La caverna de Josep Palau i Fabre (1952-1969): teatro versus alegoría filosófica para representar e impedir el final trágico y sombrío del luminoso arte de pensar.

What is the use of performing the myth of the cave from book VII of the Republic by Plato? Josep Palau i Fabre, considers that, in Plato's dialogues, the speakers are mere instruments at the service of his dialectical goal. The aim of this article is to show how, by turning the myth into a tragedy and also by relying on Heraclitus's conflict or war of opposites, the playwright succeeds in favoring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre's La Caverna, the tragic hero, that is, the released prisoner transformed by the light of Reality and finally killed by his "cavemates" -after having been imprisoned again and having tried to rescue them from their ignorance or shadows-, still leaves to them his powerful experience of the agonistikos thought, which might bear fruit in their life to come.