James's Method Research Articles

Single‐Atom Entanglement for a System of Directly Linked Two Cavities in the Presence of an External Classical Field: Effect of Atomic Coherence

AbstractThe Hamiltonian of a system composed of two standard Jaynes‐Cummings cells connected by the overlap of evanescent cavity fields, which allows photons to hop from the first cavity to the second and vice versa, and interacting with an external classical field, is simplified in the framework of unitary canonical transformations. James's method of the effective Hamiltonian is used in the derivation of two effective Hamiltonians with two completely dispersive regimes. Analytical expressions for the time dependent wavefunction and the elements of the reduced atomic operators for the different Hamiltonians are derived. The temporal evolution of atomic quantum entropy is calculated when the fields are initially in their vacuum states with various forms of the atomic initial states. Effects of the photon hopping strength, detuning and the various forms of the atomic initial states on the evolution of the von Neumann entropies are analyzed. The impact of the time‐average technique on the features resulting due to involving the controlling parameters and their influences on the considered functions is discussed. Damping is taken into account through a non‐Hermitian Hamiltonian and results are discussed. General conclusions reached are illustrated by numerical results.

A Fast Poisson Solver of Second-order Accuracy for Isolated Systems in Three-dimensional Cartesian and Cylindrical Coordinates

Abstract We present an accurate and efficient method to calculate the gravitational potential of an isolated system in 3D Cartesian and cylindrical coordinates subject to vacuum (open) boundary conditions. Our method consists of two parts: an interior solver and a boundary solver. The interior solver adopts an eigenfunction expansion method together with a tridiagonal matrix solver to solve the Poisson equation subject to the zero boundary condition. The boundary solver employs James’s method to calculate the boundary potential due to the screening charges required to keep the zero boundary condition for the interior solver. A full computation of gravitational potential requires running the interior solver twice and the boundary solver once. We develop a method to compute the discrete Green’s function in cylindrical coordinates, which is an integral part of the James algorithm to maintain second-order accuracy. We implement our method in the Athena++ magnetohydrodynamics code and perform various tests to check that our solver is second-order accurate and exhibits good parallel performance.

Failed to Feel It: Stoniness in Henry James's The Wings of the Dove

Failed to Feel It:Stoniness in Henry James's The Wings of the Dove Diana Leca Kate Croy is hard to like. In critical appraisals of The Wings of the Dove, she has been called "dreadful," "diabolical" (Krook-Gilead 299, 331), "vindictive[]" (James's own contribution [CN 106]), an "avaricious vampire" (Cornelius 6), and—from Michael Wood's Schadenfreude-inspiring list—"greedy, ghoulish, shabby, disgrace, and swindling" (33). As one early reader of the novel asked: "Who could feel any desire for even a fictional acquaintance with such persons?" (Cornelius 6). The dream of sympathetic attachment, after all, remains alluring. While it is unlikely that many novel theorists today would crusade for its centrality, most continue to operate quietly under its assumptions. In my reading, Kate Croy elicits such a strong response from readers not because she has too many—or the bad sort—of feelings but because she has too few. E. M. Forster famously condemned James's method of "pruning" emotion in Aspects of the Novel: "[James's] characters, beside being few in number, are constructed on very stingy lines. They are incapable of fun, of rapid motion, of carnality, and of nine-tenths of heroism. … Even their sensations are limited" (143). For many of James's contemporaries, his late novels were not simply shy or reticent—affective states with a scintilla of charm—but emotionally stony. We would do well not to shelve these complaints too swiftly. How supple, in fact, are our theories of reading when faced with figures who are not only inscrutable but also indifferent or hard of heart? Can thinking more carefully about stoniness as a literary and aesthetic property intervene in current debates about styles of reading? My conviction that it ought to is reinforced by a small but emerging set of critics investigating diminished or flat affect in eighteenth- and nineteenth-century fiction. In her study on insensibility, Wendy Anne Lee argues that "failures of feeling" are bound up with, rather than incidental to, the historical development of the novel as a discrete genre, persistently testing its limit points. As she puts it in relation to figures [End Page 234] like Fanny Price in Mansfield Park: "Characters who cannot or will not generate the feelings demanded of them (in stories oriented towards, but not restricted to, conjugality) upset the terms of subjectivity offered by the novel and its ontological design of investigating feelings" ("British Novel" 6).1 But does hardness offer any analytical purchase on The Wings of the Dove? On first blush, it appears to be an unpromising category for a discussion of the types of feelings and formal properties particular to James's late period. That stoniness tends to jar with contemporary interpretations of the novel, however, is part of the reason I am inclined to explore it here. This is less from an impish will to upend the received narrative and more from a sense that current figurations of The Wings of the Dove continue to miss something of its unsettling rigidity and coolness.2 James's novel is invested not so much in the sentimental nuances of specific subjects than in exploring what Rei Terada calls the "opalescent end" of feeling (14, emphasis mine). Stoniness is not a quirky or ancillary feature of James's late novel; rather, it is integral to its structural shape, affective texture, character investigations, and plot construction. In what follows, I attempt to show that rather than stymying creativity, states of unfeeling and associated lapidary elements like imperviousness and fixity are built into The Wings of the Dove at various levels of its compositional process. The Wings of the Dove opens with a bitter pas-de-deux. Kate Croy and her father, Lionel, fume, plead, stare hard at the street below, stare hard at each other. When her father displays a rare sliver of sentiment, Kate is described as being left cold: "she cared, however, not a straw for his embarrassment—feeling how little, on her own part, she was moved by charity" (7). To be unmoved has of course more than one sense: literally, it means to be inert. Catherine Malabou's definition here is instructive: "Inertia names the resistance of...

The Seeds of James's Grand Monument, or When Growing Becomes Building

The Seeds of James's Grand Monument, or When Growing Becomes Building by O. Alan Weltzien, Western Montana College ι A few years back Northeastern University Press, by arrangement with the original publisher, Charles Scribner's Sons, brought out the "Fiftieth Anniversary Edition" of Henry James's The Art of the Novel. Now golden anniversaries celebrate relationships, most often marital, of unusual longevity and felicity. This newest edition reaffirms R. P. Blackmur's monument to James and the monumental place occupied by the New York Edition prefaces themselves in novel criticism. Of course, the past generation of novel criticism has discarded the notion that The Art of the Novel, as supposedly an evolutionary end product, belongs by itself on the high altar dedicated to the novel. Post-structural accounts such as David Carroll's and John Carlos Rowe's devote themselves to articulating the cracks within James's monument and acknowledging James's complex maneuvers in creating an apparently unified facade. Autobiographical theory helps us assess James's reconciliation of the centrifugal and centripetal forces at work. Above all it affords a rich system of explanation of James's arbitration in the prefaces between the organic metaphor of seeds and growth and the inorganic metaphor of buildings and architecture. Seeds grow into a Grand Monument, a collected, published oeuvre; the builder, creating a totalizing definition of career, displaces, but does not replace, the grower of seeds. In the introduction to The Complete Notebooks, Leon Edel follows James's own cues (see .AiV 76, 258) in describing the notebooks as James's seedbed for all his writing. When describing James's note-taking, Edel, imitating The Art of the Novel, aligns the two essential metaphors: "We are taken from the germ of a story, some odd little fact or remark at a dinner table, some brief incident or anecdote, into human behavior and human motivation. We watch James in his workshop building narratives brick by brick with a kind of Olympian mastery" (xi). The terms are familiar. The question is, how does the grower become a builder? Or, with what effects does this Master Builder "revise" and therefore "reread" (AN 339-40) his seasons of cultivation? In his seventh preface, that to The Spoils ofPoynton, "A London Life," and "The Chaperone," James begins by discussing the "germ" as "a mere floating particle in the stream The Henry James Review 12 (1991) 255-70: © 1991 by The Johns Hopkins University Press 256 The Henry James Review of talk" that "communicates the virus of suggestion" (AN 119). He concludes his long opening paragraph with the same figure of the wind-dropped seed: "Let him hold himself perhaps supremely fortunate if he can meet half the questions with which the air alone may swarm" (AN 121). Yet within two paragraphs, James has shifted his allegiance to his inorganic metaphor: "[the artist] has to borrow his motive, which is certainly half the battle; and this motive is his ground, his site and his foundation. But after that he only lends and gives, only builds and piles high, lays together the blocks quarried in the deeps of his imagination and on his personal premises" (AN 122). Such shifting stamps The Art of the Novel. Neither Edel nor R. P. Blackmur, first editor of The Art of the Novel, questions the metaphorical shifting, which dramatizes a bind inherent in autobiography. As autobiography the prefaces simultaneously unsettle and profess a myth of origins and authority. Edward Said has remarked that novelistic authority is relative, as the fathered text results from a conceptual rather than organic relation to reality (84). James as autobiographer fathers his life as a Collected Works text, and the builder superimposes himself on the grower without effacing him. In his lengthy introduction (1934), Blackmur gives little attention to autobiography, calling it a "feature ... as a rule held to a minimum" (xviii). His final section summarizes James's method of choosing and developing a subject that, "If it was felt intensely and intelligently enough ... would reach, almost of itself, towards adequate form" (xlvi, emphasis added). There is a tension between the celebrated demands of form and the quasi-autonomy of the developing subject, a tension Blackmur glosses...

Extending M-estimation to include censored data via james's method

We investigate extending M-estimation of location to include censored data via the general method suggested by James .In a simulation study the behavior of the M-estimators for censored data is simile to their behavior for uncensored data when censoring in the right tail is minimal; however, ..he censoring in the right tail increases, the bias of the estimators increases and M-estimators that are robust for uncensored data, such as the Huber, lose their robust properties

Henry James's Last Portrait of a Lady: Charlotte Stant in The Golden Bowl

>&$ T ELL OVER A DECADE ago Ferner Nuhn speculated at length about unexamined and unexploited area' in The Golden Bowl, upside-down story which would surely emerge if of novel were considered from Charlotte Stant's point of view. Mattliessen gently dismissed this view as an ingenious conjecture, and Mr. Nuhn himself backed away from any claim that upside-down story was a part of author's intention. Nevertheless, I should like in this essay to consider evidence in novel and in author's preface that James intended that Charlotte's predicament, drama of her struggle, be focus of interest in The Golden Bowl. In contrast to detailed examination of motive and structure in prefaces to other major novels, preface to The Golden Bowl is notably sparse in comment on subject matter of novel. Only first four pages of preface, which is primnarily a discussion of New York Edition as a whole, concern novel at all, and these are devoted to James's method of presentation. He tells how he has presented his story, but not what is about. He is particularly impressed, he says, with the still marked inveteracy of a certain indirect and oblique view of my presented action [I, vl2 and recognizes in The Golden Bowl yet another example of his preference for dealing with my subject-matter . . . through opportunity and sensibility of some more or less detached . . . though thoroughly interested and intelligent, witness or reporter [I, v]. He reminds reader that he has constantly inclined to idea of particular attaching case plus some near individual view of it and that he has progressively moved toward view of his case which will give me most instead of least to answer for.

Alkaloids in Germinating Seeds of Atropa belladonna

DURING recent work on alkaloid biogenesis in Atropa belladonna, the results of which will be published elsewhere, we used James's method for demonstrating alkaloids in solanaceous meristems1. This method is based on the formation of a red precipitate around a piece of plant tissue as a result of the diffusion of alkaloid in a potassium iodide–iodine solution (Bouchardat's reagent).