Pure quantum phenomena are characterized by intrinsic recurrences in space and time. We use this intrinsic periodicity as a quantization condition to derive a heuristic description of the essential quantum phenomenology of superconductivity. The resulting description is based on fundamental quantum dynamics and geometrical considerations, rather than on microscopical characteristics of the superconducting materials. This allows us to investigate the related gauge symmetry breaking in terms of the competition between quantum recurrence and thermal noise. We also test the validity of (...) this approach to describe the case of carbon nanotubes. (shrink)

Free bosonic fields are investigated at a classical level by imposing their characteristic de Broglie periodicities as constraints. In analogy with finite temperature field theory and with extra-dimensional field theories, this compactification naturally leads to a quantized energy spectrum. As a consequence of the relation between periodicity and energy arising from the de Broglie relation, the compactification must be regarded as dynamical and local. The theory, whose foundamental set-up is presented in this paper, turns out to be consistent with special (...) relativity and in particular respects causality. The non trivial classical dynamics of these periodic fields show remarkable overlaps with ordinary quantum field theory. This can be interpreted as a generalization of the AdS/CFT correspondence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading the Bloody "Face of Nature":The Persecution of Religion in Hawthorne's The Marble FaunMartin Kevorkian (bio)Perhaps The Marble Faun is a novel which needs to be seen in a certain light to be fully revealed. Although Hawthorne has always had his admirers and defenders among literary critics, this novel has sometimes been selected for unfavorable comparison"; this 1941 assessment by Dorothy Waples (224) still aptly describes the critical terrain (...) and the challenge of reading Hawthorne's last complete novel. In recent scholarship, Nancy Bentley's The Ethnography of Manners (1995) has been influential in marking The Marble Faun for continued unfavorable comparison. Geoffrey Sanborn (1998), in building a case for the postcolonial intelligence of Herman Melville, uses Bentley's argument about the novel's disregard for the "lower orders of creation" to set up Hawthorne as a representative of the typically blinkered "white male writers" against whose limitations Melville shines (18, 214n33). Hawthorne, especially in The Marble Faun, has become a kind of whipping boy for American literary history.Be that as it may, my concern is not to establish Hawthorne's status as a victim of criticism, but rather to seek a recovery of what may be sacrificed in hasty dismissals of The Marble Faun. The present article proposes that this novel arrives at its greatest insights by a consideration of the dynamics of exclusionary violence as such. Henry James lamented the absence of "real psychology" in the novel, and Ludwig Lewisohn complained about its lack of "acceptable intellectual or moral content" (cited in Waples 1941, 224). Yet the novel's achievement may be seen to meet both these criteria, in part because it delivers an analysis of intellectual history as a history of mimetic sacrifice. In response to Waples's terms of challenge—the need for a certain light that reveals—I suggest that mimetic theory's reading of the Enlightenment allows the novel to disclose more critical historical intelligence than has generally been attributed to it. [End Page 133]This reading will focus on the interaction of three characters: the mysterious Miriam, the mysterious Donatello, and the even more mysterious figure known as the Model. In setting up the action of the narrative, the novel divulges little about the backgrounds of any of these characters but places them in a situation with a readily discernible structure: the relationships between the figures may be defined by the element of pursuit. Donatello follows Miriam wherever she goes. But he is not the only one who does so. The hazy figure of the Model likewise shadows Miriam. The Model's pursuit of Miriam may precede Donatello's, or the two pursuits may be somehow coeval; the novel refuses to specify either pursuit as original, focusing instead on the late-stage escalation of resentment between Donatello and the Model.This mimetic pursuit culminates in the central violent event of the novel: Donatello, claiming authorization from Miriam's glance, hurls the Model from a precipice. I have argued elsewhere that when the protagonists thus decisively act to exclude the shadowy character known as the Model, they enact the foundational move of Enlightenment discourse and the ideal of Platonic dialogue upon which that discourse is based.1 Michel Serres summarizes the Platonic-Enlightenment strategy of communicational purity and clarity:To hold a dialogue is to suppose a third man and to seek to exclude him; a successful communication is the exclusion of the third man. The most profound dialectical problem is not the problem of the Other, who is only a variety—or a variation—of the Same, it is the problem of the third man. We might call this third man the demon, the prosopopeia of noise.(1982, 67)Miriam and Donatello, the united protagonists, indeed demonize the Model in these terms. What I would now add to that equation is the value of the Model's vocational identity: he is a Capuchin monk. Within the communicational framework of my earlier analysis, the most telling details were detected in Hawthorne's emphasis on the Model's "noisy" and "hazy" profile. In hurling the Model from the edge of the precipice and thus silencing his interruptions, Donatello secures for... (shrink)

I suppose you realize, as I do, how few of our school children have had the privilege of seeing even casts of the masterpieces of ancient art? They never see the sculptures of the Parthenon, the Hermes of Praxiteles, the Victory of Samothrace, the Venus of Melos, the Augustus Caesar, the works of Donatello, the achievements of Michelangelo. The same is true of our university students—thousands of them. They hear endless talk about these things as the recognized treasures of (...) civilization, the inheritance of the ages, but they never see them.... We... used to be familiar with casts in our art museums, for they once had fine collections and exhibited them in proud array. They have disappeared and are now packed.. (shrink)

Dolce's Dialogo della pittura first appeared in Venice in 1557 and consists of a three-part dialogue between two Venetians, Aretino and Fabrini, on the particular merits of works of art and artists, including Michaelangelo, Raphael, and Donatello.