916 research outputs found
Samuel Beckett and the Writers of Port-Royal
No full textIt has been observed that ‘the literary influences on Beckett have been far more important than has been acknowledged, and more important indeed, than the philosophical influences’ (Smith 2002: 3). The truth of this statement is evidenced by the description that scholars have given of Samuel Beckett’s relationship to seventeenth century French classicism. To date, critical interest has been limited for the most part to the figure of the philosopher René Descartes on the (fragile) grounds that Beckett was exclusively concerned with the Cartesian imperative of clarity and order, the fundamental dualism between body and mind, and Nominalism.
Together with the assumption that Beckett’s vision was essentially Cartesian, his literary filiation with Pascal was suggested by critics, but only in terms of Beckett’s formal approach to the theatre. In his short article on En attendant Godot in 1953, the playwright Jean Anouilh was among the first reviewers to suggest that Beckett’s drama synthesizes the encounter between ‘classicism’ and a ‘modern’ form of art. It is well known that Beckett retained a lifelong admiration for Pascal – indeed, Pascal was one of his ‘old chestnuts’ (Knowlson 1997: 653). Little attention has been paid, however, to the originality of Pascal’s thought, the specific nature of his prose, and the impact these might have had upon Beckett’s mature work, especially the trilogy and the subsequent short prose. Yet, in the literary and philosophical context of post-war France, Beckett’s filiation with Pascal, their corresponding preoccupations, were evident to his contemporaries, who identified Pascal as an underlying presence in his works
At certe videre videor. Cartesio alla prova di Pascal
No full textThe author proposes a comparison between Descartes and Pascal starting from the common pathic background in which the theory is generated for both. And yet, despite the common basis, Pascal's difference emerges even more acutely and goes in the direction of a radical exposition of the subject
Measurement of the inclusive φ cross-section in pp collisions at √s=7 TeV
No full textThe cross-section for inclusive φ meson production in pp collisions at a centre-of-mass energy of √s = 7 TeV has been measured with the LHCb detector at the Large Hadron Collider. The differential cross-section is measured as a function of the φ transverse momentum pT and rapidity y in the region 0.6< pT <5.0 GeV/c and 2.44< y <4.06. The cross-section for inclusive φ production in this kinematic range is σ(pp→φX)=1758±19(stat) +43−14(syst)±182(scale) μb, where the first systematic uncertainty depends on the pT and y region and the second is related to the overall scale. Predictions based on the Pythia 6.4 generator underestimate the cross-section
Observations of Bºs→ψ(2S)η and Bº(s)→ψ(2S)π+π- decays
No full textFirst observations of the B0s
→ψ(2S)η, B0 →ψ(2S)π
+
π
− and B0s
→ψ(2S)π
+
π
− decays are made
using a dataset corresponding to an integrated luminosity of 1.0 fb−1 collected by the LHCb experiment in
proton–proton collisions at a centre-of-mass energy of
√
s = 7 TeV. The ratios of the branching fractions
of each of the ψ(2S) modes with respect to the corresponding J/ψ decays are
B(B0s
→ψ(2S)η)
÷
B(B0s
→J/ψη)
= 0.83± 0.14 (stat)±0.12 (syst) ±0.02 (B),
;
B(B0→ψ(2S)π
+
π
−
)
÷
B(B0→J/ψπ
+
π
−
)
= 0.56± 0.07 (stat)±0.05 (syst)± 0.01 (B),
;
B(B0s
→ψ(2S)π
+
π
−
)
÷
B(B0s
→J/ψπ
+
π
−
)
= 0.34± 0.04 (stat)±0.03 (syst)± 0.01 (B),
where the third uncertainty corresponds to the uncertainties of the dilepton branching fractions of the J/ψ
and ψ(2S) meson decays
Branching fraction and CP asymmetry of the decays B+→K0Sπ+ and B+→K0SK+
No full textAn analysis of B+ → K0
Sπ+ and B+ → K0
S K+ decays is performed with the LHCb experiment. The pp
collision data used correspond to integrated luminosities of 1 fb−1 and 2 fb−1 collected at centre-ofmass
energies of
√
s = 7 TeV and
√
s = 8 TeV, respectively. The ratio of branching fractions and the
direct CP asymmetries are measured to be B(B+ → K0
S K+
)/B(B+ → K0
Sπ+
) = 0.064 ± 0.009 (stat.) ±
0.004 (syst.), ACP(B+ → K0
Sπ+
) = −0.022 ± 0.025 (stat.) ± 0.010 (syst.) and ACP(B+ → K0
S K+
) =
−0.21 ± 0.14 (stat.) ± 0.01 (syst.). The data sample taken at
√
s = 7 TeV is used to search for
B+
c
→ K0
S K+ decays and results in the upper limit ( fc · B(B+
c
→ K0
S K+
))/( fu · B(B+ → K0
Sπ+
)) <
5.8 × 10−2 at 90% confidence level, where fc and fu denote the hadronisation fractions of a ¯b
quark
into a B+
c or a B+ meson, respectively
Poetry of Thoughts : Pascal writing’s voice and musicality
No full textCette thèse se propose d'écouter les "Pensées" de Pascal. Dans quelle mesure Pascal, fils d'un organiste amateur et jeune auteur d'un "Traité des sons", s'est-il approprié l'univers sonore de son époque pour composer une œuvre dont les rythmes n'ont cessé d'étonner, de réveiller et d'entraîner ses lecteurs ? Pascal écrit-il « comme un musicien », selon l'hypothèse de Jean Mesnard ? Étudier la musicalité des "Pensées" suppose, tout d'abord, l'analyse de l'énonciation : le contexte prédicatif comme les recherches en acoustique de l'âge classique sont en lien avec une écriture de l'actio, c'est-à-dire une écriture oratoire. C'est par l'ouïe qu'on convertit, rappelle Pascal en citant la "fides ex auditu" paulinienne. La démarche entreprise avec l'écriture des "Pensées" n'est pas sans rappeler les principes des traités de musique de l'époque (ceux de René Descartes, de Marin Mersenne, de Pierre Gassendi...), comme les partitions qui pouvaient être publiées chez Ballard, par exemple. Motets, airs spirituels, Tombeaux et airs de cour composent un paysage sonore encourageant à choisir et à créer des rythmes particuliers, en explorant la « disposition des matières ». La musicalité d'un texte, c'est-à-dire sa prosodie, ses mouvements, son imaginaire, ne se fonde cependant pas sur de la matière sonore en tant que telle. Parler de poésie, et notamment de « poèmes en prose », permet d'étudier le lyrisme pascalien : heurté, dissonant, voire strident, ce lyrisme peut évoquer, pour le lecteur actuel, certaines expérimentations acoustiques de musique contemporaine, par exemple celles d'Edgar Varèse. Le rapport à la voix est pourtant ancré dans les sonorités du XVIIe siècle : l'étude du gémissement et des silences nous ramène au projet de conversion. Ce projet ne peut passer par le lyrisme d'une « éloquence continue » qui resterait à la surface de l'être : les "Pensées" relèvent d'un lyrisme apophatique, engageant le lecteur comme un interprète.This thesis offers to listen to the Thoughts of Blaise Pascal. To what extent Pascal, son of an amateur organist and a young author of Traité des sons, did he identify with the universe of sound of his period to compose a work which rythms kept on astonishing, waking up and bring with them its readers ? Does Pascal write 'like a musician' according to Jean Mesnard 's assumption ? Studying musicality the Thoughts means, first of all, the analysis of announcement : the predicative context like researches in sounds of the classical age linked to the writing of the actio, that is to say , oratory writing. It's trough the ear that we convert recalls Pascal, quoting the pauline just like the thought 'fides ex auditu '. The initiative taken with the writing of the Thoughts is not without recalling the principles of the ageements of music at that period — those of René Descartes, Marin Mersenne and Pierre Gassendi...— like the score published by Ballard, for instance. Motets, spiritual melodies, tombeau, airs de cour, compose a sound landscape encouraging to chose and to create specific rythms by exploring the 'disposition des matières ' (fragment 575). The musicality of a text – its prosody, its moves, its imaginary world — however , doesn't rely on sound material in its current form. Speaking about poetry and especially, prose poetry allows to study the Pascal's lyricism : hit, dissonant, even strident, for the current reader, some sound experimentations of contemporary music, for instance, the ones of Edgar Varèse. The relation to voice is however fixed in the seventeenth century sounds : the study of whining and silence brings us back to conversion project. This project can't go with continuous eloquence (fragment 636) which would remain at the human being 's surface. The Thoughts belong to an apothatic lyricism, involving the reader like a performer
Prompt charm production in pp collisions at √<span style="text-decoration:overline">s</span>=7 TeV
No full textCharm production at the LHC in pp collisions at s√=7 TeV is studied with the LHCb detector. The decays D0→K−π+, D+→K−π+π+, D⁎+→D0(K−π+)π+, D+s→ϕ(K−K+)π+, Λ+c→pK−π+, and their charge conjugates are analysed in a data set corresponding to an integrated luminosity of 15 nb−1. Differential cross-sections dσ/dpT are measured for prompt production of the five charmed hadron species in bins of transverse momentum and rapidity in the region 0<pT<8 GeV/c and 2.0<y<4.5. Theoretical predictions are compared to the measured differential cross-sections. The integrated cross-sections of the charm hadrons are computed in the above pT-y range, and their ratios are reported. A combination of the five integrated cross-section measurements gives
σ(cc¯)pT<8 GeV/c,2.0<y<4.5=1419±12(stat)±116(syst)±65(frag) μb,
where the uncertainties are statistical, systematic, and due to the fragmentation functions
Measurement of the time-dependent CP asymmetry in B0 -> J/ψ KS0 decays
No full textThis Letter reports a measurement of the CP violation observables SJ/ψK0S and CJ/ψK0S in the decay channel B0→J/ψK0S performed with 1.0 fb−1 of pp collisions at s√=7 TeV collected by the LHCb experiment. The fit to the data yields SJ/ψK0S=0.73±0.07(stat)±0.04(syst) and CJ/ψK0S=0.03±0.09(stat)±0.01(syst). Both values are consistent with the current world averages and within
expectations from the Standard Model
L'ordine dell'amore in Blaise Pascal
No full textThe author focuses on the question of love in Pascal which finds its most exhaustive treatment in the fragment on the three orders. Furthermore, it focuses on the epistemological and ethical implications of Pascal's thesis
Measurement of the CP-violating phase \phi s in Bs->J/\psi\pi+\pi- decays
No full textMeasurement of the mixing-induced CP-violating phase phi_s in Bs decays is of prime importance in probing new physics. Here 7421 +/- 105 signal events from the dominantly CP-odd final state J/\psi pi+ pi- are selected in 1/fb of pp collision data collected at sqrt{s} = 7 TeV with the LHCb detector. A time-dependent fit to the data yields a value of phi_s=-0.019^{+0.173+0.004}_{-0.174-0.003} rad, consistent with the Standard Model expectation. No evidence of direct CP violation is found
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