Yeats and Modernism

Albright, Daniel

doi:10.1017/ccol0521650895.004

Cited by 5 publications

(2 citation statements)

References 4 publications

(5 reference statements)

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“…5 Notice that there is a residual damping of order ⑀ associated with the quadrature-phase corrections to n and j coming from conservation of momentum and energy. 18 We return to this effect in the final section of this paper.…”

Section: ͑59͒mentioning

confidence: 98%

The bounce-kinetic model for driven nonlinear Langmuir waves

Barnes

2004

Physics of Plasmas

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The bounce-kinetic model is developed and applied to driven nonlinear Langmuir waves. The waves are described in terms of an eikonal with slow envelope variation. It is assumed that the bounce frequency of trapped electrons is large. A kinetic equation involving only slowly varying quantities is derived and it is shown that the characteristic equations form a Hamiltonian system. Conservation of particles, momentum, and energy are shown to depend on first-order corrections to this kinetic equation. The low order correction moments are derived exactly from these conservation laws, eliminating the need for a complicated boundary layer treatment of the separatrix. Previous results for nonlinear Langmuir waves are reproduced by a simplified version of this theory which neglects variations of the amplitude envelope and phase velocity. A particle-in-cell method is proposed for solution of the nonlinear kinetic problem. Extensions of this method required to correctly describe small amplitude waves are suggested. Such an extended model may be useful for the modeling of laser-plasma interaction in the trapping regime.

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Section: ͑59͒mentioning

confidence: 98%

The bounce-kinetic model for driven nonlinear Langmuir waves

Barnes

2004

Physics of Plasmas

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“…Yeats. 19 As befits a Dantean encounter, the ghost speaks in lines typographically arranged in units of three to suggest a terza rima (the rhyme scheme of Dante's Divine Comedy) which, though largely unrhymed, follows the rhythms of the English iambic pentameter. As he retrospectively surveys 'things ill done and done to others' harm', Yeats' ghost teaches a lesson about poetic redemption: From wrong to wrong the exasperated spirit Proceeds, unless restored by that refining fire Where you must move in measure, like a dancer.…”

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confidence: 99%

Metres and the Pound: Taking the Measure of British Modernism

Ingelbien

2011

European Review

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Seen in the broader context of European modernism, British modernist literature stands out through the limited role of collective avant-gardes and the conservative or reactionary politics of the writers who make up the canon of modernist poetry. This article explores how these peculiarities are replicated in the use of traditional poetic forms (metres in particular) in the works of W.B. Yeats (1865–1939), Ezra Pound (1885–1972) and T.S. Eliot (1888–1965). As modernist (rather than avant-garde) writers, those poets rejected or backed away from free verse and simultaneously cultivated forms that harked back to older and less insular poetic traditions than the ones that dominated mainstream English poetry in the Victorian period.

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Introduction: Communicating Metaphor

O’Donoghue¹

2021

The Relevance of Metaphor

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Yeats and Modernism

Cited by 5 publications

References 4 publications

The bounce-kinetic model for driven nonlinear Langmuir waves

The bounce-kinetic model for driven nonlinear Langmuir waves

Metres and the Pound: Taking the Measure of British Modernism

Introduction: Communicating Metaphor

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