Role of T-odd functions in high energy hadronic collisions

I propose a simple model for predicting the enegy behavior of T-odd, chiral odd function $h_1^{\perp}$. Furthermore I illustrate a method for extracting $h_1^{\perp}$ and the transversity function from Drell-Yan. The method may be applied also to other reactions.Comment: Talk given at Brookhaven, Spin-200

Transverse Spin Asymmetries in Drell-Yan Processes: p↑p→μ+μ−X\mathbf p^{\uparrow} p \to \mu^+ \mu^- X}

We consider two different spin asymmetries in Drell-Yan processes generated by the collisions of an unpolarized proton beam on transversely polarized protons: the muon helicity asymmetry and the left-right asymmetry. We calculate the asymmetries in the framework of the QCD improved parton model, taking into account the parton transverse momentum and considering the first order QCD corrections. The muon helicity asymmetry is sensitive to the quark transversity distribution and is nonvanishing even at zero order. On the contrary the left-right asymmetry vanishes at zero order but not at first order in the QCD coupling constant, as a result of gluon contribution

‘An Isle Full of Noises’: The Perception & Influence of Sound in Shakespeare’s The Tempest

Since the play’s authorship in 1610, actor-managers and directors alike have struggled over staging the opening scene of William Shakespeare’s The Tempest. The physical presence of the ship, the sounds and lighting effects of thunder and lightning, the dialogue of the actors, and the use of music have varied from the early 17th century to the present in an effort to appeal to the audience. The presentation of these elements, especially sound cues and music, prepares audiences to understand the dynamics of Prospero’s powers and transformation as a character. Depending on how sound and stage technologies were implemented in performance, directors have been able to present audiences with a Prospero that is depicted as either more or less of a sympathetic character