The design of test-section inserts for higher speed aeroacoustic testing in the Ames 80- by 120-foot wind tunnel

An engineering feasibility study was made of aeroacoustic inserts designed for large-scale acoustic research on aircraft models in the 80- by 120-Foot Wind Tunnel at NASA Ames Research Center. The goal was to find test-section modifications that would allow improved aeroacoustic testing at airspeeds equal to and above the current 100 knots limit. Results indicate that the required maximum airspeed drives the design of a particular insert. Using goals of 200, 150, and 100 knots airspeed, the analysis led to a 30 x 60 ft open-jet test section, a 40 x 80 ft open-jet test section, and a 70 x 110 ft closed test section with enhanced wall lining respectively. The open-jet inserts would be composed of a nozzle, collector, diffuser, and acoustic wedges incorporated in the existing 80 x 120 ft test section. The closed test section would be composed of approximately 5-ft acoustic wedges covered by a porous plate attached to the test-section walls of the existing 80 x 120. All designs would require a double row of acoustic vanes between the test section and fan drive to attenuate fan noise and, in the case of the open-jet designs, to control flow separation at the diffuser downstream end. The inserts would allow virtually anechoic acoustics studies of large helicopter models, jets, and V/STOL aircraft models in simulated flight. Model scale studies would be necessary to optimize the aerodynamic and acoustic performance of any of the designs. Successful development of acoustically transparent walls, though not strictly necessary to the project, would lead to a porous-wall test section that could be substituted for any of the open-jet designs, and thereby eliminate many aerodynamic and acoustic problems characteristic of open-jet shear layers

Lamberton, Robert. \u3ci\u3eHomer the Theologian: Neoplatonist Allegorical Readings and the Growth of the Epic Tradition.\u3c/i\u3e Berkeley: University of California Press, 1986. (Review)

This book is excellent both for classicists and Spenserians, for the latter not only because Homer is the (direct or indirect) source for many episodes in The Faerie Queene but because the modes of understanding epic which Lamberton explores are crucial to the comprehension of Spenserian allegory. The work continues the tradition of examination of classical myth and allegory begun by Felix Buffiere, Jerome Carcopino, Franz Cumont, and Jean Pepin. Beginning with the early Neo-Pythagorian allegorists, it proceeds to cover Homeric commentary in \u27apostolic\u27 and \u27post-apostolic\u27 times: that of Philo, Numenius, Clement and Origen in Jewish-Christian tradition; and that of Plotinus, Porphyry, Julian, Sallustus, and Proclus in neo-Platonic tradition. The last section examines Homer\u27s relation to the Middle Ages, showing how he was treated by the Arabs, the Greek church fathers up through pseudo-Dionysius, the Latin fathers including Augustine and Boethius, and late-medieval figures such as the Chartrean Neo-Platonists and Dante. .... This book provides Spenser scholars with plenty to think about if they take it seriously. The whole process of knowing what works and commentaries Spenser\u27s audience knew and how it used them as controls on interpretation is just beginning. Lamberton\u27s view of the use of commentary as pan of the act of creation in mediaeval writing by Boethius, Bernard Sylvestris, and Dante provides the Spenserian with an excellent place to start giving the Spenserian form of the Homeric epic the serious historical-critical reading it deserves

Interpretation and Ovidian Myth in \u3ci\u3eAlexander’s Bridge\u3c/i\u3e and \u3ci\u3eO Pioneers!\u3c/i\u3e

This essay describes interpretive strategies widely applied to Ovidian mythic materials during the period of Cather’s early career, especially those operative in Alexander’s Bridge and O Pioneers! The article assumes that widely held conventional interpretations of myths, in this case Ovidian myths, in a specific time and area are part of their semantic content, or iconology, and are tools Cather used in communicating with her audience. The essay then looks at a passage in the 1912 Alexander’s Bridge and two disputed passages in the 1913 O Pioneers! along with extended Bacchic themes in the latter novel that employ conventional Ovidian iconology. These symbolic clusters were available to her in the early decades of the twentieth century. The historicizing of the interpretation of classical myth makes a significant difference to the understanding of Cather’s novels. Traditional Ovidian iconology, the essay argues, rather than alternative, later approaches to classical myth projected back in time, are crucial to the novels’ meanings. The essay finally examines how an understanding of historical semiological usages undergird our understanding of mythic meanings

Chaucer\u27s Epic Statement and the Political Milieu of the Late Fourteenth Century

Sets Knight\u27s Tale in the tradition of political verse, and argues that the tale encourages peace in the domestic and foreign affairs of Chaucer\u27s England. The hortatory, heroic style of the tale presents Theseus as a peace-making ideal, pertinent to the French wars of the time. The juxtaposition of the Miller\u27s Tale with the Knight\u27s Tale encourages placid relations with the peasant class. Several critics, both neoclassic and modern, have observed that) as to kind, the Knight\u27s Tale is an epic fiction. Characteristically, the poems we call medieval epics are what Ezra Pound also says an epic must be in modern times: a long poem about history. Though the term epic was used little in medieval times, a carmen heroicum or work in the mode of the Aeneid was recognized by a style: a use of heroic meters or their vernacular equivalent; certain sorts of figurative language and diction; and, most of all, a peculiar kind of fiction. Mode or kind was, in medieval literature (as in the literature of England generally up through the eighteenth century), a means of signalling rhetorical intention. In the case of the Knight\u27s Tale, kind taken together with the context of the tale in the Canterbury Tales, and in history, tells us what the story means. I wish first to look at that mode and at what it says about the tale\u27s meaning taken by itself and then at what it says in relation to the fictional history which constitutes its context within the Tales and the real history which constituted its context outside

Review of \u3ci\u3eThe Sixth Grandfather: Black Elk\u27s Teachings Given to John G. Neihardt\u3c/i\u3e, edited by Raymond J. DeMallie

When John Neihardt finished Black Elk Speaks, he put on deposit in the University of Missouri library the rough English expansion of the shorthand from which he worked and the shorthand transcript of Ben Black Elk\u27s translation of his father\u27s life story. Raymond DeMallie has now edited this material to bring us as close as we are likely to get to what Black Elk actually did speak. DeMallie has done a first rate job. The outcome is a book useful for what it contributes to our understanding of Sioux iconography, Siouan perceptions of negotiations with the United States, Black Elk\u27s mingled pipe religion and Catholic convictions, and Neihardt\u27s purposes

William Shakespeare’s All Is True, Lord Chamberlain’s “Truth,” and Civil Religion

The first title for Shakespeare’s Henry VIII—All Is True—may reflect standard early modern usage signifying that all is an aspect of ‘troth’ or loyalty, all is common understanding, or all is received from a divine source. In the play, the Lord Chamberlain, Shakespeare’s only character so named, serves the Henrician monarchy’s “truth” by serving Henry’s religious and monarchic goals as the Jacobean Lord Chamberlain similarly served James I’s goals, assuring audiences of the integrity, truth, and legitimacy of the monarchy and its faith. The play shows the Lord Chamberlain working to strengthen the loyalty of Henry’s realm to the putatively divinely sanctioned sovereignty flowing through the monarch. He does so to create a legitimate image of the Tudor regime pivotal to the Jacobean monarchy’s need for support for its 1613 religious goals and the “troth” inherent in English civil religion

Review of \u3ci\u3eThe Gift of the Sacred Pipe\u3c/i\u3e By Black Elk

This is a beautiful coffee-table book. One wonders why a university press chose to publish it. Though the illustrations to the book are lovely and in the spirit of Black Elk\u27s account of the major ceremonies of the Lakota people, they do not add to our scholarly understanding of those rituals. Furthermore, in editing Joseph Epes Brown\u27s original text, Drysdale removed all footnotes and much of the technical detail concerning Lakota iconology that was included by Brown and Black Elk in the original Sacred Pipe (1953). As a consequence, this account of the ceremonies is readable but lacks the density, the explanatory power, and the profundity of the earlier version. What scholars need now is not more work popularizing the beauty of precontact life, but rather, more comparative analyses of what the various holy men said about the meaning of what they were doing; more analyses of precontact and early contact art and literature in relation to the ritual and ritualistic semantic systems of the period; and serious examinations of the profound philosophies behind ritual, art, and literature. Finally, we need various analyses of the ceremonies both as statements of religious encounter with the numinous and as devices for establishing a cultural relationship to the plains. This book, beautiful as it is, will not satisfy any of these scholarly needs

Vaughan\u27s \u3ci\u3eThe World:\u3c/i\u3e The Pattern of Meaning and the Tradition

Vaughan\u27s The World ends with an epigraph from I John 2:16-17 which appears to say little about the work which it is supposed to illuminate: All that is in the world, the lust of the flesh, the lust of the Eys, and the pride of life, is not of the father but is of the world. And the world passeth away, and the lusts thereof, but he that doth the will of God abideth for ever. \u27 Though the poem begins and ends with its brilliant perceptions of the sweep of eternity, its middle section seems to bog down in a random listing of sinners which is founded on no philosophic or literary principle. One does not know what the lover, the statesman, the miser, and the group of epicures and prodigals have in common, aside from sin; and one is not quite sure why one should think of just these sinners when one is viewing eternity. It is as if the poet, having lost his visionary powers, could only turn to the leaden talents of the versifier and the preacher. If the poem is to be worth its reputation, it must have more to it than a half-dozen fine lines; it must be all of a piece, including the epigraph and the middle section. Even at first sight, the epigraph does appear to have some bearing on the poem, for both, in a sense, speak of two worlds: the epigraph mentions the perishing temporal world and the eternal world where the faithful abide forever; the poem gives us these in the form of the world of darkness and the world of pure and endless light. Both speak of two loves appropriate to these two worlds. ... Properly the explanation of meaning in Renaissance emblematic poetry must explore neither the surface nor the depths exclusively, neither the pattern nor the varying symbols of that pattern, but the interaction between these two where the poem\u27s meaning is at once ancient and new, simple and complex

Somatotopic Organization Of The Mammalian Pain System And Developmental Mechanisms

Commonly, different regions of sensory maps are used to meet separate functional requirements. For the somatosensory system (which mediates sensation from the skin including touch, pain, and related modalities), the distal limbs have special behavioral importance for exploration and object manipulation. Accordingly, the hands and fingertips show heightened sensitivity for both touch and pain sensation in human subjects. In contrast to the touch system, the neural mechanisms for region-specific pain sensation are poorly understood. Despite over a century of research into the neural basis of pain, past work has not clearly defined the functional organization of the pain system across the body (somatotopic) map. In Chapter 2, we use a novel genetic mouse line to map the organization of one major class of mammalian pain-sensory neurons (the Mrgprd+ non-peptidergic nociceptors) across the body map. While we find no obvious peripheral mechanisms for high sensitivity in the distal limbs (mouse plantar paw skin has a low density of Mrgprd+ terminals, and single-cell arbor areas are comparable between paw and trunk skin), we reveal a novel region-specific organization in the spinal cord terminal arbors of these neurons. Specifically, paw and trunk neurons grow ‘round’ and ‘long’ arbor morphologies, respectively, such that paw neurons have a wider mediolateral spread in the spinal cord. We show that this region-specific morphology closely correlates with increased signal transmission for paw pain circuits. We conclude that region-specific organization of Mrgprd+ spinal cord terminals provides a possible mechanism for the high pain sensitivity of the distal limbs. In Chapter 3, we investigate potential developmental mechanisms for region-specific arbor morphologies. Disruption of peripheral target innervation does not alter their central arbor morphologies, suggesting that this central somatotopic difference develops independent of cues/processes from the periphery. However, this difference is present from very early developmental stages, suggesting that pre-programming mechanisms might govern this somatotopic pattern. Collectively, this work reveals that region-specific organization is a fundamental principle for the pain system with clear implications for our understanding of pain in both normal and pathological conditions