Weibel Instability Growth Rate in Magnetized Plasmas with Quasi-Relativistic Distribution Function--《Communications in Theoretical Physics》2016年12期
Weibel Instability Growth Rate in Magnetized Plasmas with Quasi-Relativistic Distribution Function
【摘要】：The mechanism of the Weibel instability is investigated for dense magnetized plasmas. As we know, due to the electron velocity distribution, the Coulomb collision effect of electron-ion and the relativistic properties play an important role in such study. In this study an analytical expression for the growth rate and the condition of restricting the Weibel instability are derived for low-frequency limit. These calculations are done for the oscillation frequency dependence on the electron cyclotron frequency. It is shown that, the relativistic properties of the particle lead to increasing the growth rate of the instability. On the other hand the collision effects and background magnetic field try to decrease the growth rate by decreasing the temperature anisotropy and restricting the particles movement.
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1 Introduction
There has been considerable interest in recent years in the field of electromagnetic Weibel instabilities due to their important role in generating quasi-stationary magnetic fields in laboratory[1-2]and astrophysical plasmas.[3]In fusion
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京公网安备75号Encountering the improvvisatrice in Italian Opera on JSTOR
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Encountering the imp...
Journal Article
Melina Esse
Journal of the American Musicological Society
Vol. 66, No. 3 (Fall 2013), pp. 709-770
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DOI: 10.1525/jams..709
Stable URL: http://www.jstor.org/stable/10.1525/jams..709
Page Count: 62
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Romantic poetry
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Abstract Giovanni Pacini's Saffo (1840), while virtually unknown today, was wildly popular with nineteenth-century audiences and critics, who called the opera Pacini's most sophisticated and unusual to date. This Romanticized portrayal of the fabled poet/singer from ancient Greece ends with the heroine's suicidal leap and features a musical structure built upon dramatic, confrontational ensembles. Saffo's final mad scene, however, centers around the character's performance of a supposedly improvised solo song. I suggest this moment was Pacini's attempt to represent not only the ancient poet but the modern improvvisatrice, that female improviser of sung poetry made famous in Madame de Sta?l's 1807 novel Corinne. Now overshadowed by caricatures of capricious divas, the figure of the improvvisatrice offers new ways of understanding both the popularity of Pacini's opera and the era's shifting balance of power between singers and composers. This article places Saffo in a broader context of nineteenth-century poetic improvisation and compares it to Rossini's earlier Il viaggio a Reims, which also featured an improvvisatrice. I argue that the figure of Sappho embodied an ideal of performance in which creation and execution were fused and thus illuminates both the collaborative and elusive nature of nineteenth-century operatic authorship.
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