Nonlinear Optical Phenomena in the Infrared Range

Nonlinear Optical Phenomena in the Infrared Range Various aspects of nonlinear optical phenomena in the infrared range Yu Qin Nonlinear optics is a branch of optics, which describes the behavior of light in nonlinear media, where the dielectric polarization P responses nonlinearly to the electric field of the light E. This is a very broad concept. In this thesis, we focus our study on three aspects of nonlinear optical phenomena in the infrared wavelength range: the characterization of a mid-infrared ultrashort laser by autocorrelation based on Second Harmonic Generation (SHG), the influence of the beam mode on the interaction between laser and media during nonlinear propagation of femtosecond near-infrared pulses in liquid, and the dynamics of the ablation of solid samples submerged in liquid using a long nanosecond near-infrared laser. Many energy levels of molecules and lattice vibrations are in mid-infrared wavelength range of 2.5-25 Â µm. For this reason, this wavelength range is called chemical fingerprint zone. Infrared absorption spectroscopy using light source in this wavelength range has been widely used identify different covalent bonds in many kinds of samples. Besides, by irradiation of an intense and short laser pulse whose wavelength is tuned to the resonance, a specific molecular band absorbs the pulse energy, and specific chemical reaction is excited. For this reason, tunable mid-infrared ultrafast lasers have a lot of potential applications in energy and material science, i.e., the production of alcohol or hydrogen from H2O and CO2, and the development of next-generation solar cells. Kyoto University Free-electron Laser (KU-FEL) is an oscillator-type free-electron laser, which works in the mid-infrared wavelength range of 5-13 Â µm. In temporal domain, the pulses from KU-FEL have a dual-pulse structure. In a macropulse with the duration of a few microseconds, thousands of micropulses sit with the interval of 350 ps between each other. Due to its special lasing dynamics, the wavelength instability of this kind of Free-Electron Laser (FEL) is relatively worse compared with optical lasers, i.e., at the working wavelength of 12 Â µm, this instability is around hundreds of Gigahertzes, which is comparable to the bandwidth of the vibrational modes. For those potential applications in which resonances are involved, stabilization of the wavelength of KU-FEL is necessary. And before that, we should first know the amount of wavelength instability. Besides, similar to all other ultrashort pulse lasers, micropulse duration of KU-FEL is very important information for applic ations such as nonlinear optics. For these purposes, in this thesis, we report the measurements of both the duration and wavelength instability of KU-FEL micropulses using the technique of Fringe-Resolved AutoCorrelation (FRAC). For temporal characterization of ultrashort pulses, standard techniques such as Frequency-Resolved Optical Gating (FROG) and Spectral Phase Interferometry for Direct Electric-field Reconstruction (SPIDER) are invented more than ten years ago, which can give a single-shot measure for both the amplitude and the phase of the electric field, even for the pulses with the durations down to few cycle. Both FROG and SPIDER are spectrum-resolved measurement, for which the 2D array detector (CCD) is required to measure the single-shot spectrum. However, such kind of detectors for the mid-infrared wavelength range is very expensive, and not available in our institute. Under this condition, we perform an autocorrelation measurement of KU-FEL, and try to find the information about pulse duration and wavelength instability for the results. Autocorrelation is a kind of well-known technique, which is invented more than thirty years ago. It is usually used for a rough estimation of the pulse duration of ultrashort laser pulses. In this thesis, by a systematic study of the influence of the wavelength instability on the signal of FRAC measurement, we first propose a method of measuring the wavelength instability of micropulses of an oscillator-type FEL by FRAC. Besides, we find that, by integrating the FRAC over the delay time, we can measure the duration of an ultrafast pulse, without knowing the chirps in advance. To the best of our knowledge, this finding has not been reported anywhere else, and it can save us from an additional Intensity AutoCorrelation (IAC) measurement. Both of the above mentioned methods work well when applied to an FRAC measurement of KU-FEL at the wavelength of 12 Â µm. The durations and the wavelength instability of the microoulses are measured to be ~0.6 ps and 1.3%. This technique can be also applied for characterization of ultrashort pulses at other wavelengths, where 2D array detectors are not easily available, i.e., for the extreme-ultraviolet case. Since our autocorrelation measurement is based on SHG, which is a second order nonlinear process, good focusablity of the laser beam is required to reach the high intensity at the focus position. To test the focusibility of the KU-FEL, a measurement of M2 factor of KU-FEL is carried out by the 2D knife-edge method before the autocorrelation measurement. The most convenient way to measure the M2 factor of a laser is to measure the beam profile at different distances from the focus by a beam profiler, and analyze the results. The reason why we choose the old-fashioned knife-edge method is still the lack of 2D array detector in this wavelength range. The beam profiles at different distances from the focus are reconstructed from the results of knife-edge scanning in both horizontal and vertical directions. During the data analysis, the beam of KU-FEL is found to have the non-Gaussian beam profile. As a result, the analytical methods developed for Gaussian beams under the knife-edge measu rement do not work for our case. Taken the non-Gaussian property of the beam into consideration, some special and original treatments are taken during the data analysis. With the development of the Ti:sapphire laser and the chirped pulse amplification (CPA) system, high power at the order of Terawatt becomes available at the wavelength of around 800 nm. This has attracted a lot of interests on the studies of nonlinear optics, such as the generations of attosecond pulses, Terahertz radiations, high order harmonics, and supercontinuum spectra. From the beginning of this century, the filamentation induced by femtosecond pulses during propagation in nonlinear media has been a hot topic. During the nonlinear propagation of femtosecond pulses, due to the balance between self-focusing, plasma defocusing, and nonlinear loss, the intense part of the laser beam collapses to a spot with very small diameter, which can propagate for a distance much longer than the Rayleigh length. This phenomenon is called filamentation. Because of the long focal depth of the filamentation, it has many applications such as laser machining, Laser Imaging, Detection and Ranging (LA DAR), and long distance Laser-Induced Breakdown Spectroscopy. Besides, strong spectral broadening occurs during filamentation, and the coherent white light is generated at the central part of the beam. This effect is widely used for pulse compression. And for the reason of high time resolution, this coherent white light also serves as a good light source in spectroscopy. Most of the studies about filamentation have used Gaussian beams as the incident beams. Recently, the axicon lens has made the generation of Bessel beam much easier. Many groups have focused their studies on the filamentation induced by Bessel beams. Compared with Gaussian beams, Bessel beams keep the high on-axis intensity for even longer propagation distance, thus can produce longer filamentation. We perform a comparison study of filamentations generated by Gaussian and Bessel beams. Since the pulses we can use are splitted from a CPA system, which contain the energy of 200 Â µJ, we choose the liquid as the nonlinear media. Compared with gaseous media, liquid has much larger nonlinear coefficient, so that the nonlinear effect can be observed at much lower incident power, and in a much shorter propagation range. Besides, unlike solid media, we can use the liquid sample for long time during experiment, without worrying about the laser-induced damage. During this experiment, we have confirmed the resistance of Self Phase Modulation during the propagation of Bessel beam, which is also reported in some papers by other groups. The experimental results and qualitative explanations are reported in this thesis. When an intense laser pulse is focused on the material, plasma is generated. During this process, small portion of the material to be analyzed gets atomized and excited, and emits light. By collecting and analyzing the spectra of the emitted light, we can detect the constituents of the material, or even the relative abundance of each constituent element. This technique is called Laser-Induced Breakdown Spectroscopy (LIBS). Compared with other similar techniques, LIBS has many advantages, i.e., in principle, it can detect all elements, and can analyze any matter regardless of its physical state, be it solid, liquid or gas. Since during a single shot in the LIBS measurement, the mass of the ablated material is in the range of picogram to nanogram, the LIBS is considered to be non-destructive. Another important advantage of LIBS is the easiness of the sample preparation. For most of the cases, the sample does not require any treatment before LIBS measurement. For this reason, LIBS can be applied for in-situ multi-elemental analysis. And due to its fast analysis time, LIBS can be used for a realtime composition measurement. Nd:YAG laser at fundamental wavelength (1064 nm) is most often used during LIBS experiments. It has several advantages, i.e., the scattered laser light does not influence the measurement of the visible spectra, and compared with shorter wavelength, laser at this wavelength has better heating effect on the laser-induced plasma. Compared with LIBS of solid sample in gaseous media, LIBS of solid sample under liquid is more complicated. In such condition, if the single nanosecond pulse is used for ablation, the measured spectra are always deformed and broadened, which is due to the strong confinement of plasma plume in liquid environment. One solution of this problem is to use the double pulses LIBS, during which the first pulse can generate a bubble near the surface of the sample, in which the plasma produced by the second pulse can expand. Another solution is to use the long nanosecond pulses, which have the durations of more than 100 ns. During long pulse LIBS, the diameter of the laser-induced bubble can reach hundreds of micrometers at the trailing part of the pulse, which provides a space with low density for the plasma plume to grow. Compared with the double pulses LIBS, the advantage of the long pulse LIBS is that, it can be applied for the measurement under very high pressure. However, if the double p ulses LIBS is applied under such condition, the bubble generated by the first pulse can not grow to a size large enough for the plasma plume generated by the second pulse to expand inside. And as a result, the double pulses LIBS loses its advantage. In this thesis, we report our experimental study of long pulse LIBS of solid samples under liquid. Two experiments are included. The first one is to optimize the laser focus position, and the second one is to study the influence of solvent temperature on the ablation dynamics. The results of these experiments can help us better understand the dynamics of ablation during long pulse LIBS of solid sample submerged into liquid.

On Drama Translation Essay

Like their contemporary prose translators who were introducing Western fiction to China, budding dramatists were enthusiastic about bringing Western plays to the Chinese stage. The first play was staged in Japan from an adaptation of Lin Shu’s translation of Uncle Tom’s Cabin. A Chinese student in Japan named Li Shutong adapted the script. The play was put on by members of the Chun Liu (Spring Willow) Drama Society. Their performance marked a complete break from traditional theatrical practices. After the May 4th Movement, complete translations of plays were published and used in productions. Many established writers began to try their hand at writing scripts for the stage. Also in the introduction of foreign masterpieces, a lot of famous translators were produced. If we have a try at drama, we can find it very difficult, more difficult than the translation of novels. Actually, drama is very different from novel. And drama translation must be done in a much different way. First, drama scripts are written for stage performance. So the translated scripts must be suitable for the audience. But poems, prose and novels are written for reading. Though sometimes foreign scripts are produced only for reading, there are seldom the cases. Also the foreign playwrights would be against that. Second, drama performance is a comprehensive ways of acting. It is an audio-visual art, which needs lighting, stage properties, and sound effects. The lines by the actors contribute a great deal to the success of the play. The audience relies heavily on the lines of the play. Most of them are ordinary people, but not erudite scholars. The actors usually don’t repeat the words except for the sake of laying stress. If the lines are too obscure, the audience will get confused as a play goes on without a stop. Third, there aren’t any annotations in a stage performance. In a novel, the hidden intention of the characters, the natural and social background, cause and effect of the subtle changes of the emotions can be stated by the narrator. So the readers can grasp the whole text and better understand it. But in a play performance, the audience get information only from the lines of the characters. Further more, foreign playwrights often use puns or allusions in a play. It is really difficult to translate them in simple language due to the cultural differences. For example, an allusion in the original play may be very appropriate and enlightening. But a literal translation of it may  cause great trouble to the Chinese. And an annotation for the allusion is not feasible because in stage performance, an actor can’t speak the annotation. He can only use sign language, stage properties to imply it. So drama translation sets higher standards for the translations. So the above-mentioned three characters of drama require a popular and simple language of the translation. For example, in the revised version of the translation by Yang xianyi of Pygmalion by Bernard Shaw, the translator adds some words, delegate some to make the second version simpler in diction and structure. Example 1: The Mother: (to Clara) Give it to me. (Clara parts reluctantly) Now (to the girl) this is for your flowers. (Act I) [First version] ( ) ( )( ) ? , [1](P. 9) [Second version] ( ) ( )( ) ? , [2](P. 462) In the first version, the translated sentence â€Å" †seems more faithful and close to the original text. But it is awkward sounding. But the revised version is easier for pronunciation and causes no cause in understanding: in the text, the money is surely the compensation for the flower but not other things. Example 2: Algernon: Ah! That must be Aunt Augusta. Only relatives, or creditors, ever ring in that Wagnrian manner. This is from the Importance of Being Earnest by Oscar Wilde, a line by Algergon, when he hears the rings of the bell. Wagner refers to a famous German playwright Richard Wagner who is famous for his sublime style. A literal translation of it will cause great trouble for the Chinese because they don’t know Wagner, let alone his style. But Yu guangzhang translates it as â€Å" , †. [3](p. 129)The phrase â€Å" †is sonorous and a little bit exaggerating. But it is so vivid that it presents an arrogant aristocratic woman to us. Example 3: Hamlet: Look here upon this picture, and on this, The counterfeit presentment of two brothers. See what a grace was seated on this brow: Hyperion’s curls, the front of Jove himself, An eye like Mars, to threaten and command, A station like the herald Mercury New lighted on a [ heaven] kissing hill, a combination and a form indeed, Where every god did seem to set his seal To give the world assurance of a man. This is your husband. ( The Tragedy of Hamlet, Act III, scene IV) [Liang shiqiu’ version] : , , , ; ; ; , ; , ; , , : [4] In this paragraph, the Gods Hyperion, Jove, Mars, Mercury are not familiar to the Chinese audience. They may be confused by a transliteration. Though Liang shiqiu uses annotations that will not help much. The audience cannot have a script while watching. But Zhu shenghao is more tactful in his translation. [Zhu shenghao’ version] : , , : ; , , ; , , [5] In this version, Zhu shenghao avoids the transliteration of unfamiliar names. Instead he grasps their symbols and personal traits. So the audience could follow the play more easily though they don’t remember the specific names of these characters. Since drama is mainly written for stage performance, it is different from novels, prose and poems. We can read novels slowly and casually. If we can’t understand some part of it, we can reread it and ponder on it. A first reading of a novel may mean nothing to you. As we read it time and again, we can dig deeper and deeper into it. But in drama performance,â€Å" its purpose is to bring about sudden upheavals of the highest moral nature. †[6](p. 44)So drama language should not only be simple and understandable, but also must vividly demonstrate the personalities of the characters in a specific historical period. To avoid the stereotype, the translator must pay much attention to the roles of the characters in relation to others. The tones, intonation and diction of the characters should also be noticed. Example 4 The BYSTANDERS GENERALLY (demonstrating against police espionage) Course they could. What business is it of yours? You mind your own affairs. He wants promotion, he does. Taking down people’s words! Girl never said a word to him. What harm if she did? Nice thing a girl can’t shelter from the rain without being insulted, ect. , ect, (Act I) [first version] ( )!! , , , [7](p. 17) [second version] ( )!!! , , , [8] (p. 465) The second version of the translation adds the exclamation â€Å" †. It can vividly show the questioning tone of the bystanders. If the actors tactfully express it on the stage, which will draw the sympathy from the audience toward the protagonist. Another example of the flexible translation can be shown in â€Å"Romeo and Julie† Friar Laurence: Here comes the lady;/ O, so light a foot /Will never wear out the everlasting flint; / A lover may bestride the gossamers/ That idles in the wanton summer air, / And yet not fall: so light is vanity. [Cao yu’s version] : ,? , , , , [9] [Zhu shenghao’s version] : , , ; , ,. [10] The second version of the dialogue is better. In the first version, the last sentence â€Å" , †is obscure. The second version of this sentenceâ€Å" † can fit in well with the profession of Fiar Laurence. It vividly depicts a priest who is greatly concerned about the properties of the church and is devoted to his work. Another important aspect of drama is the scene of movement. In drama performance, the movement of actors will cause conflicts. The conflicts will push forward the development of the story. Then the audience will be interested and follow the show. So the actor must act on their personalities, intentions and run into conflicts with each other. And language should show the kind of movement. In Thunderstorm by Cao yu, the fierce contradiction between labor and capital can be read in the dialogues. So the language is full of movements. For example: : ,! ,! —— Hai: You drowned two thousand two hundred coolies in cold blood, and for each life lost you raked in three hundred dollars! I tell you, creature, you’ve made your money by killing people, and you and your sons stand accursed forever! And now on top of that you—— [11](p. 492) Literally, the word â€Å" †is just calling the name of Zhou puyuan in an impolite way. But its translation shows the sharp opposition between him and Zhou puyuan. Also it hints that Hai will retaliate on Zhou. So it is full of movements. In the Importance of being Earnest, Yu guangzhong is also good at showing the movements in the language. For example: Algernon: how are you, my dear Ernest? What brings you up to town? Jack: Oh, pleasure; pleasure! What else should bring one anywhere? Yu guangzhong translates it as â€Å"? ,! , †[12](p.126)Yu knows that Jack is a dandyish play boy. In the play, he just comes to Algernon for fun. The translation is far better than â€Å" †. and will agree with his proposal to Miss Bracknell. Finally, dramatic language should be refined and full of emotions. Without poetic sentiment, dialogues are half-dead. [13] The language of drama should have rhythm, be rich in meaning and full of unspoken words. In the dramas by Ibsen, Shakespeare, and Caoyu, we can feel the strong emotions and mellowness of their language. For example, in Caoyu’s translation of Romeo and Julie, we are overwhelmed by his coruscating wit. Julie: Since arm from arm that voice doth us affray,/ Hunting thee hence with hunt’s-up to the day. [Cao’ version] , [14] In the original language, the word â€Å"affray† rhymes with â€Å"day†. So the sentence can be read fluently. Cao is clever enough to end each clause with â€Å"? † and â€Å"? †, so they still rhyme with each other. Also the rhythm and appeal are attained. Another example of the poetical emotions can be shown in Yang xianyi’s translation of Quyuan by Guo moruo. â€Å" , ,! , , ,! , ,?! ,?! ,?! , , ,! † [Cao’s version]

“Look, stranger, at this island now” by W.H. Auden Essay

This poem us a â€Å"musical† exercise in which the poet reveals his technical skill by using sound techniques and figurative language to reinforce his description of a scene. It is one of Auden’s few poems of natural description, perhaps of the coast in the West Country of England. The first stanza requires the stranger – someone unfamiliar with the island of kingdom of Britain but perhaps acquainted with the stereotype of it as a dull and gloomy place – to look at, and re-examine his prejudice about, Britain, as it is revealed (â€Å"discovered†) for his enjoyment by the sunlight dancing and flickering on the waves of the sea. The alliteration and consonance of -l- sounds (leaping, light, delight) and of the dental -t- and -d- sounds (light, delight, discovers) in the second line, and the variation of long vowel sounds in â€Å"leaping† and â€Å"light†, together with the repetition of â€Å"light†, creates a quick dancing effect which mimics the reflection of sunlight off waves. In two more commands the narrator requires the stranger to stand and remain quiet so that he can hear the sound of the sea, varying in volume, perhaps according to the fixity required, while the pattern of stresses on â€Å"wander† and â€Å"river†, in the penultimate line, and on â€Å"swaying sound of the sea†, in the last line, combined with the sibilance, conveys an idea of the changing volume of sound coming from the sea, and the continued whispering sound that it makes. The second stanza invites the stranger to wait at the point where a small field ends in a chalk cliff, which drops to a shingle beach below. The waves surge up the beach until they are halted by the cliff. The assonance of the long -au- vowel sound in â€Å"small† and â€Å"pause† in the first line, which concludes with the command to pause, gives the impression of something long ending suddenly, which creates a feeling of suspense and uncertainty as to what comes next and suggests the ending of the land and the beginning of the air. The same assonance in â€Å"chalk†, â€Å"walls†, â€Å"falls† and â€Å"tall† creates the same sense of extension but its quick repetition in â€Å"chalk wall falls†Ã‚  conveys the notion of a rapid or sheer drop, the alliteration of -f- conveying the notion of air bubbling up in foam. The onomatopoeic â€Å"pluck† and â€Å"knock† vividly conveys the dragging and pounding effect of the waves on the shingle and the cliff, the sturdy defiance of the last-named being suggested in the metaphor â€Å"oppose†. The metaphor and onomatopoeia in â€Å"scrambles†, with its clutter of consonants, again vividly conveys the quick sliding descent of the shingle down the beach, the sibilance re-creating the sound it makes, while the metaphor in â€Å"sucking†, together with the break in the word, gives some idea of the powerful pulling action of the ebbing waves. Again, the description of the gull and the placing of â€Å"lodges† at the end of the line creates a sense of suspension which emphasizes the difficulty of maintaining a perch on the wave and hints at the brevity of the stay. The third stanza takes us further out to sea and describes the ships which leave the port (â€Å"diverge†), and which seem, because of their diminutive size, as small as seeds. The simile â€Å"like floating seeds† suggests they are bearing new life. They are so far away that they do not seem to be controlled by men (â€Å"voluntary†) though they are on â€Å"errands† (which diminishes the importance of their journeys) which are â€Å"urgent† (these words imply that those who direct these vessels have an exaggerated idea of the importance or value of these journeys). The rhyming of â€Å"diverge† and â€Å"urgent† creates a sense of the ploughing movement of the ship as it passes through the water. The last four lines of this stanza return to the start of the poem and suggest that the whole scene may continue to live in the memory of the observer, passing as silently and casually and beautifully as the clouds reflected in the water of the harbour pass, like people strolling at leisure. Here, the alliteration and consonance of the soft -m- sounds in â€Å"memory†, â€Å"mirror† and â€Å"summer†, and the half-rhymes of â€Å"mirror† â€Å"summer† and â€Å"saunter† all convey a sense of gentle and relaxed ease, appropriate for scenes which are recalled in moments of leisure. The poem, then, invites the stranger to see for himself the beauty of this  island at this special moment in time. Although it suggests a need to re-examine old prejudices about the island kingdom, it also functions as a celebration of the senses of sight and hearing which are used in observing the scene and in re-living the experience. It is written in three stanzas of seven lines. The rhyme scheme of the first stanza is abcdcbd. The line lengths are varied effectively, to suggest changes in the movement of waves or in the duration of a sound or a feeling. Run-on or end-stopped likes are used effectively to convey similar ideas or impressions.

Due To The Extensive Amount Of Harm That Photo Manipulation

Due to the extensive amount of harm that photo manipulation causes, it is an ethical issue. Digital photo manipulation in women causes widespread harm, long-lasting damage to women s self-esteem and other negative psychological thought processes. Research has also found that it causes a large number of eating disorders. It does this by making women chase the ideal, thin body image that is being portrayed in the different pictures and advertisements. There was a study done that examined both the thin-ideal and body classification. Results from this showed that viewing the thin-ideal lead to a higher level of body dissatisfaction (Whyte, Newman, Voss, 2016). Thereby this issue diminishes the autonomy of the viewers, uses models as a†¦show more content†¦A false idea of what one actually looks like is being portrayed within the photograph. They are providing the viewers with an inaccurate and unreliable picture. It is also important to know who the parties involved in this iss ue are. The company that decides to alter the image is first handedly involved in this matter. The model that is posing for the shot, which in this case are the women that are being altered, are also involved. Lastly, the viewers of the photograph, which includes all of society and their target audience of females are involved as well. Knowing the relevant laws when analyzing this issue is crucial as well. Given that the First Amendment grants people with the freedom of speech, these companies are allowed freedom of press as well. This allows the companies to do what they want with the images they have. They are allowed to advertise for their company however they choose, regardless of outside opinions on their methods. They can send whatever message, whether indirect or not to their audience without any restrictions. However there are some company policies that these businesses try to follow. First and foremost they try to market however they think will get them or their product the most attention. They do this at the cost of unethical photo manipulation. Some different companies such as Dove and Aerie have spoken out against this issue and have started campaigns of their own in response to it. TheShow MoreRelatedEssay on Silent Spring - Rachel Carson30092 Words   |  121 PagesWorld War II led to the discovery o f substances that were lethal to insects. Whereas pre-war insecticides were simple compounds of naturally occurring minerals, the new synthetic pesticides are organic substances that have been carefully created by manipulation of molecules and atoms. Because they are organic, they can easily poison intended and unintended targets and become part of the bodily processes of numerous creatures. These substances work to stop the bodys natural functions; some of them mayRead MoreIbsen11859 Words   |  48 Pagescharacter questions Nora’s use of money: â€Å"Bought, you say? 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