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Analysis of Hamiltonian PDEs (Oxford Lecture Series in Mathematics and Its Applications, 19)
Sergei B. Kuksin
Manufacturer: Oxford University Press, USA
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ASIN: 0198503954 |
Book Description
For the last 20-30 years, interest among mathematicians and physicists in infinite-dimensional Hamiltonian systems and Hamiltonian partial differential equations has been growing strongly, and many papers and a number of books have been written on integrable Hamiltonian PDEs. During the last decade though, the interest has shifted steadily towards non-integrable Hamiltonian PDEs. Here, not algebra but analysis and symplectic geometry are the appropriate analysing tools. The present book is the first one to use this approach to Hamiltonian PDEs and will be an invaluable source of information for postgraduate mathematics and physics students and researchers.
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C-Groups, Commutator Methods and Spectral Theory of N-Body Hamiltonians (Progress in Mathematics)
Werner O. Amrein ,
Anne Boutet de Monvel , and
Vladimir Georgescu
Manufacturer: Birkhauser
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ASIN: 3764353651 |
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Nonlinear Oscillations of Hamiltonian PDEs (Progress in Nonlinear Differential Equations and Their Applications)
Massimiliano Berti
Manufacturer: Birkhäuser Boston
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ASIN: 0817646809 |
Book Description
Many partial differential equations (PDEs) that arise in physics can be viewed as infinite-dimensional Hamiltonian systems. This monograph presents recent existence results of nonlinear oscillations of Hamiltonian PDEs, particularly of periodic solutions for completely resonant nonlinear wave equations.
After introducing the reader to classical finite-dimensional dynamical system theory, including the Weinstein—Moser and Fadell—Rabinowitz bifurcation results, the analogous theory for nonlinear wave equations is developed. The theory and applications of the Nash—Moser theorem to a class of nonlinear wave equations is also discussed together with other basic notions of Hamiltonian PDEs and number theory. The main examples of Hamiltonian PDEs presented include: the nonlinear wave equation, the nonlinear Schrödinger equation, beam equations, and the Euler equations of hydrodynamics.
This text serves as an introduction to research in this fascinating and rapidly growing field. Graduate students and researchers interested in variational techniques and nonlinear analysis applied to Hamiltonian PDEs will find inspiration in the book.
Book Description
At once a vigorous translation of one of Euripides' most subtle and witty plays, and a wholly fresh interpretation, this version reveals for the first time the extraordinary formal beauty and thematic concentration of the Alcestis. William Arrowsmith, eminent classical scholar, translator, and General Editor of this highly praised series, rejects the standard view of the Alcestis as a psychological study of the egotist Admetos and his naive but devoted wife. His translation, instead, presents the play as a drama of human existence--in keeping with the tradition of Greek tragedy--with recognizably human characters who also represent masked embodiments of human conditions. The Alcestis thus becomes a metaphysical tragicomedy in which Admetos, who has heretofore led a life without limitations, learns to "think mortal thoughts." He acquires the knowledge of limits--the acceptance of death as well as the duty to live--which, according to Euripides, makes people meaningfully human and capable of both courage and compassion. This new interpretation compellingly argues that, for Euripides, suffering humanizes, that exemption makes a man selfish and childish, and that only the courage to accept both life and death leads to the realization of one's humanity, and, in the case of Alcestis, to heroism.
Customer Reviews:
The closest thing we have to a Greek satyr play.......2003-02-03
"Alcestis" is the oldest surviving play of Euripides, although he had been writing tragedies for almost twenty years when it was written. Apparently it ws the fourth play in a tetralogy, taking the place of the ribald satyr play which traditionally followed a series of three tragedies. Consequently, this play has more of a burlesque tone, best represented in the drunken speech of Heracles to the butler and his teasing of Admetus at the end. So while "Alcestis" is a tragedy, it does offer up an unusal happy ending.
In Greek mythology Alcestis was the daughter of Pelias and wife of Admetus, an Argonaut and the king of Pherae. In Western literature Alcestis is the model wife, for when her husband is to die she alone agrees to die in his place. However, the key in this drama is how Admetus finds this sacrifice totally acceptable. Admetus is represented as a good and honorable man, but then his ethos is established in this play by the god Apollo in the opening scene, and even though it was written later it is hard not to remember the expose Euripides did on the god of truth in "Ion." Euripides adds a key twist in that Alcestis agrees to the sacrifice before she fully understands that her husband will suffer without her. She is brought back from the underworld by Heracles and restored to her relieved husband, but the play clearly characterizes Admetus as a selfish man and it is this view that other writers have imitated every since.
The story of Alcestis has been addressed by more modern writers from Chaucer and Milton to Browning and Eliot. The sacrifice of Alcestis has also been the subject of several operas. "Alcestis" is not a first rate play by Euripides, but it does represent both his cynicism and his attempt to make the audience confront the problematic elements of its belief system. So while I would not teach "Alcestis" by itself, in conjunction with other play by Euripides, specifically "Ion," it can definitely have value in class.
Offer you this treat!.......1998-09-02
Alcestis was the first Greek tragedy I read, and it is still the one I love most, though Ajax and both Iphigenias are tough competitors. Heracles, a.k.a. Hercules, accepts hospitality at a home where, unknown to him, the housewife, Alcestis, is being mourned. He drinks and raises hell (the pun will be noticed by he who reads the play!). Informed of the tragedy, much embarrassed, he decides to add a new task to his tight schedule: bringing back the lady. This is a tragedy that ends well. Actually, it runs well all the time, being one of the greatest creation of human imagination.
Book Description
Translated by John Davie with an Introduction and Notes by Richard Rutherford.
Customer Reviews:
daring, resonant, horrific, and (duh) mythical.......2006-08-30
I, too, was surprised how relevant and easily modern the issues presented in 'Medea' could be. I mean, gender, power, betrayal and revenge are universal and timeless, but Euripides' Medea is breaking all the rules: she's constantly exploding into feminist manifestos, seeking to (figuratively) neuter herself one moment and irradiating torrid womanpower the next, and spitefully slaughters her own family with impunity. In comparison to such a powerful character, the rest of the characters seem mere shades with vague wills and blurred senses of human values- except, perhaps, for Jason, who is so convinced of his own sexual superiority that he doesn't grasp what's going on until it's too late.
The whole thing seemed rather mythic to me, though not immediately because it's an ancient Greek fable with Furies and sun-gods and pervertedly creative murder weapons. I feel that the sheer amount of catharsis in the plotline (which, according to the notes, Euripides practically invented) makes it almost rudimentary and sensationalized. Why does Euripides (figuratively) transform the multifaceted Medea into a demon, rather than allowing her humanity and complexity to show through, perhaps even affirm her demonic actions? It's more daring to deify Medea, which is perhaps why the play seems to smack of modernity. But (to me, anyway) this seems to carve Medea into an archetype, lessening the value of the human realities of the play. It finishes like an allegory, and I think that limits it.
Strength of a Woman.......2006-08-29
Euripides' Medea is a story about a woman's heartbreak and the revenge she consequently seeks on her husband. After her spouse takes another wife Medea is torn apart, unable to distinguish right from wrong. She plots to kill the new wife and eventually Medea murders her own children, all in order to spite her former lover.
Euripides expresses the power of passion without reason especially when it comes to love. Medea is willing to kill her own children out of despair, although they are the only people she really has. She has feelings of trepidation before killing the children, revealing her humanity, but appears triumphant after completing the murders. She appears at the top of a building at the end of the show which is usually reserved for divine appearances (intro), which is a metaphor for Medea's strength and even her unyielding brutality, qualities that many deities were believed to possess.
I really enjoyed this play because of Euripides' representation of the woman. Although tragic, Medea's dramatic actions express her passion, stubbornness, power, as well as her godliness and simultaneous humanity.
A modern suprise.......2006-08-23
I was pleasantly surprised when I was reading "Medea". About halfway through the play, I realized that the themes of revenge, depression, and female empowerment are still relevant. Infidelity and vengeance are things witnessed everyday: in movies, in the news, maybe even in our own lives. This string of themes proves further that human kind hasn't changed too much.
Though I did have some problems with the plot and some of the overdramatics. Medea revealed to the audience a vulnerable, passionate woman who has a bit of a drama problem and needs just a little too much attention. I think any reader can appreciate the pain she suffered and the disgusting way people in power dealt with her. But is there a line being far over-stepped by killing one's own children just to make a man feel guilty?
Though there is some undeniable hyperbole, it is a story a reader or audience member can empathize, and is totally plausible in a modern setting.
surprisingly modern.......2006-08-23
Having read a decent amount of classical poems and plays, I drew from previous experience and started "Medea" with the expectation of appreciating but not neccessarily loving it. But "Medea" pleasantly surprised me with its timeless story of a woman's revenge driven by her own selfish pride and the disgusting lengths she goes to hurt her husband. I found myself completely fascinated by Medea's manipulative antics and sociopathic tendencies. This play has definitely conquered time and remains thrilling a couple thousand years later with themes like betrayal, justice and honor which are still prevalent in modern stories. As a crime show junkie, I constantly drew parallels from recent story lines on a million shows on television to Medea's chilling story. I highly recommend this play.
Great Collection.......2004-11-15
I think this is one of the better compilations I've seen. I've really been impressed with all of the Oxford World's Classics series. The information given in the Introduction as well as the maps and reference materials mentioned are very helpful. In addition I like having the notes listed at the end of the compilation rather then interspersed, I find it less distracting that way. A must have for any Greek Literature Scholar.
Book Description
This edition provides an introduction and commentary (including metrical analysis) to this intriguing 'pro-satyr' play, based on a Thessalian legend.
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Euripides and the Poetics of Sorrow: Art, Gender, and Commemoration in Alcestis, Hippolytus, and Hecuba
Charles Segal
Manufacturer: Duke University Press
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ASIN: 082231360X |
Book Description
Where is the pleasure in tragedy? This question, how suffering and sorrow become the stuff of aesthetic delight, is at the center of Charles Segal's new book, which collects and expands his recent explorations of Euripides' art.
Alcestis, Hippolytus, and Hecuba, the three early plays interpreted here, are linked by common themes of violence, death, lamentation and mourning, and by their implicit definitions of male and female roles. Segal shows how these plays draw on ancient traditions of poetic and ritual commemoration, particularly epic song, and at the same time refashion these traditions into new forms. In place of the epic muse of martial glory, Euripides, Segal argues, evokes a muse of sorrows who transforms the suffering of individuals into a "common grief for all the citizens," a community of shared feeling in the theater.
Like his predecessors in tragedy, Euripides believes death, more than any other event, exposes the deepest truth of human nature. Segal examines the revealing final moments in Alcestis, Hippolytus, and Hecuba, and discusses the playwright's use of these deaths--especially those of women--to question traditional values and the familiar definitions of male heroism. Focusing on gender, the affective dimension of tragedy, and ritual mourning and commemoration, Segal develops and extends his earlier work on Greek drama. The result deepens our understanding of Euripides' art and of tragedy itself.
Book Description
Alcestis is one of Euripides' richest and most brilliant--as well as most controversial--plays. But, apart from D. J. Conacher's student text, no annotated edition in English has appeared for more than fifty years. The present work is designed to aid close reading and to serve as an
introduction to the serious study of the play in its various aspects. The introduction covers the background to the story in myth and folktale, its treatment by other writers from antiquity to the present, the critical reception of Euripides' play, and its textual transmission and meters. The notes
are designed in particular to help readers who have been learning Greek for a relatively short time. More advanced matter, such as discussion of textual problems, is placed in square brackets at the end of the note.
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