A generalized Weyl relation approach to the time operator and its connection to the survival probability

The time operator, an operator which satisfies the canonical commutation relation with the Hamiltonian, is investigated, on the basis of a certain algebraic relation for a pair of operators T and H, where T is symmetric and H self-adjoint. This relation is equivalent to the Weyl relation, in the case of self-adjoint T, and is satisfied by the Aharonov-Bohm time operator T_0 and the free Hamiltonian H_0 for the one-dimensional free-particle system. In order to see the qualitative properties of T_0, the operators T and H satisfying this algebraic relation are examined. In particular, it is shown that the standard deviation of T is directly connected to the survival probability, and H is absolutely continuous. Hence, it is concluded that the existence of the operator T implies the existence of scattering states. It is also shown that the minimum uncertainty states do not exist. Other examples of these operators T and H, than the one-dimensional free-particle system, are demonstrated.Comment: 16 pages, REVTeX. Accepted for publication in the Journal of Mathematical Physic

Absolute continuity of positive spectrum for Schrödinger operators with long-range potentials

AbstractAbsolute continuity in (0, ∞) for Schrödinger operators − Δ + V(x), with long range potential V = V1 + V2 such that ∂V1∂r, V2 = 0(r−1−ϵ), ϵ > 0, as ¦ x ¦ → ∞, is shown by proving estimates on resolvents near the real axis. Completeness of the modified wave operators for a superposition of Coulomb potentials also follows. Singular local behavior of V is allowed

Mayakovsky on the Land

It is surprising that the poet whose self-proclaimed mission was to give city streets a language turned to publicizing farming collectives. No less noteworthy is the poet of internationalism working on the ethnocentric Crimea project of advertising Jewish agrarian communities. This paper addresses Mayakovsky’s collaboration on the film Evrei na zemle (Jews on the Land, 1927), and his poems ““Evrei (Tovarishcham iz OZETa)” (“Jew [To Comrades from OZET],” 1926) and “‘Zhid’” (“‘Yid’,” 1928). I argue that in these works the poet reshuffles the svoi-chuzhoi dichotomy. While using the Moses story of exile and liberation, the poet both domesticates the Jew through features of the dominant culture and marginalizes the anti-Semite by ascribing to him the pejorative markers of the Jewish stereotype. One of the main purposes of the Exodus subtext is to expand Mayakovsky’s zone of “our-ness” while making the Promised Land and the lexicon of Zionism “our own.

The Visual, the Epic, and Pasternak’s ‘Devjat’son pjatyj god’

In this study I consider the role of poetic description in Pasternak’s ‘Deviat’sot piatyi god’ (‘1905’) in the context of the genre of the poema. Descriptive passages in poetic narratives, as a rule, provide a static setting for a protagonist’s actions. In the absence of any single hero in Pasternak’s poema, topography itself begins to move. I examine the categories of stasis and motion, central to ‘1905’, at the intersection of the visual and the verbal. The idea of reanimating the events of the first Russian revolution twenty years after the fact borders on the ekphrastic in places, where the poet transposes techniques and genres from the visual arts into a verse epic. Finally, I suggest that aesthetic perception itself is the dominant principle in the poema, as opposed to documentary faithfulness, which is traditionally emphasized in the scholarship on this work

Syntactic Change and the Rise of Transitivity

This paper analyzes the historical divergence of predicates marked with old passive neuter -no/-to in Polish and Ukrainian. It is argued that the locus of change leading to the rise of the transitivity property involved a rearrangement of morphologically-eroded voice morphology. Despite the surface similarity of the Polish and Ukrainian constructions, their divergent distribution in the modern languages indicates that grammaticalization of the old passive morpheme proceeded along different pathways, implicating the internal structure of vP, and creating new accusative case-assigning possibilities. Artykuł przedstawia analizę różnic w rozwoju form predykatów z wykładnikami strony biernej w rodzaju nijakim -no/-to w języku polskim i ukraińskim. Przybranie cech tranzytywnych przez te formy czasownikowe łączy się tu ze zmianami w obrębie morfologii strony gramatycznej w obu językach. Pomimo powierzchniowych podobieństw różnice w dystrybucji konstrukcji z czasownikami zakończonymi na -no/-to we współczesnym języku polskim i ukraińskim wskazują, że gramatykalizacja morfemu strony biernej przebiegła według różnych scenariuszy w obu językach, implikujących zróżnicowanie w strukturze frazy czasownikowej vP, a także powstanie nowych możliwości przypisania cechy biernika

Poema of Lieutenant Schmidt’s End: Pasternak’s Dialogue with Tsvetaeva through the Prism of Genre.

Boris Pasternak’s poemy are acutely self-conscious of their place in the epic tradition. Lieutenant Schmidt (LS) represents one attempt at exploring the parameters of the poema itself as the poet makes a “difficult” transition from “lyric thinking” to “the epic.” In this article I examine this transition against a contemporaneous example in the genre, Tsvetaeva’s Poema of the End (PE). In LS, structural elements of the poema are counterposed to those of PE. While PE amplifies the individual voice, LS muffles what is personal for the sake of the public voice. While PE is atemporal, LS is historical. While PE unfolds on symbolic planes, with elements of plot kept to a bare minimum (a single moment of separation), LS is a plot-driven account based on concrete, documentary material. Finally, while PE is an “overgrown lyric”—representing the “lyric thinking” that Pasternak hopes to transcend— LS is an exploration of the possibilities that a more traditional model of the poema can offer. Although in the present analysis I draw on several theories of poetic genres, this is by no means an exhaustive study of epic versus lyric forms of poetry. Instead, my analysis focuses on those structural and thematic features of the poema that the poets themselves perceived as central to their texts. Pasternak, for his part, develops the structure and thematics of his poema in ways that are inspired by PE, but also, as we will see, in more significant ways, contrast with it