A methodology for determining optimum microwave remote sensor parameters

There are no author-identified significant results in this report

Excerpts from selected LANDSAT 1 final reports in geology

The standard formats for the summaries of selected LANDSAT geological data are presented as checklists. These include: (1) value of LANDSAT data to geology, (2) geologic benefits, (3) follow up studies, (4) cost benefits, (5) optimistic working scales, (6) statistical analysis, and (7) enhancement effects

Shakespeare and Jung

I contend that Jung provides insights in keeping with Shakespeare's own intent as in many respects they were "of like mind." It is the attempt of this thesis to demonstrate how this might be so, comparing Jung's own writings with those of Shakespeare. The Introduction provides an overview: what the thesis sets out to do. The first chapter represents a highly technical treatment for determining an exact location for the Globe Playhouse. It is as if one were an archaeologist requiring as much evidence as possible for determining where the foundations might lie within a given site. But this determination of the Globe's center and the shape of the Globe's groundplan represent a mandala form ("mandala" is the Sanskrit word for "circle"). Jung's work after his departure from Freud (1913-1928) became progressively more concentrated on the significance of mandalas (his first mandala drawing was in 1916). The mandala form represented integration and evidence for it was found not only in the dreams of his patients but in the artifacts of all civilizations - in the groundplans for cities and buildings, and in the art and religious practices of diverse peoples reaching back to Rhodesian cliff-drawings. I relate Hamlet and its use of soliloquy to the central motif of the mandala the protection of the center. Using his Tavistock Lectures as a point of departure, Chapters 2-3 take up Jung's figure of the Psyche, divided up into ectopsychic, endopsychic, personal unconscious, and collective unconscious "spheres." "Chapter 2: The Four Functions" deals with Hamlet, Othello, The Winter's Tale, and Measure for Measure. "Chapter 3: The Shadow" refers to King Lear, The Tempest, and A Midsummer Night's Dream. After a consideration of King Lear, I relate Joseph Campbell's "journey of the hero" to Jung's figure of the Psyche with reference to the three plays mentioned above. Chapter 4 treats Jung's descriptions of "anima" and "animus" in relation to Macbeth. Some attention is then given to the characters of Ophelia, Gertrude, Desdemona, Cordelia, and Hermione, and their depreciation. "Chapter 5: Jungian Criticism" takes up the way in which literature may be viewed from the angle of Jung-oriented criticism with particular reference to Hamlet, Macbeth, Henry IV, Part I, Twelfth Night, Much Ado About Nothing, and King Lear. The Conclusion is followed by Appendices A-G which summarize and amplify Jungian thinking treated in this thesis and conclude with a statement about Shakespeare by Peter Brook. The Bibliography Section provides a list of works consulted in relating the Globe Playhouse to its site and works consulted in regarding the Globe and Shakespeare's work in the light of C. G. Jung

The Shadow of Eternity: Belief and Structure in Herbert, Vaughan, and Traherne

The poetry of Herbert, Vaughan, and Traherne represents “an attempt to shape their lives and verse around the fact of divine presence and influence,” writes Sharon Seelig. The relationship between belief and expression in these three metaphysical poets is the subject of this deeply perceptive study. Each of these poets held to some extent the notion of dual reality, of the world as indicative of a higher reality, but their responses to this tradition vary greatly—from the ongoing struggle between God and the poet of The Temple, which finally transforms the materials of everyday life and worship; to the more difficult unity of Silex Scintillans, with its tension between illumination and resignation; to the ecstatic proclamations of Thomas Traherne, whose sense of divine reality at first seems so strong as to destroy the characteristic metaphysical tension between this world and the next. Seelig’s study proceeds from individual poems to the whole work, exploring the relation of cosmology and religious experience to poetic form. Sharon Cadman Seelig has taught English at Smith, Wellesley, and Mount Holyoke Colleges. A graceful, compact study which adds significantly to our appreciation of Herbert, Vaughan, and Traherne. —Seventeenth-Century News An impressive reading of Herbert....Seelig\u27s work resonates with an erudite virtuosity, easily equal to its demanding subject. —Christianity & Literaturehttps://uknowledge.uky.edu/upk_english_language_and_literature_british_isles/1065/thumbnail.jp

How forward‐scattering snow and terrain change the Alpine radiation balance with application to solar panels

Rough terrain in mid- and high latitudes is often covered with highly reflective snow, giving rise to a very complex transfer of incident sunlight. In order to simplify the radiative transfer in weather and climate models, snow is generally treated as an isotropically reflecting material. We develop a new model of radiative transfer over mountainous terrain, which considers for the first time the forward scattering properties of snow. Combining ground-measured meteorological data and high resolution digital elevation models, we show that the forward scattering peak of snow leads to a strong local redistribution of incident terrain reflected radiation. In particular, the effect of multiple terrain reflections is enhanced. While local effects are large, area-wide albedo is only marginally decreased. In addition, we show that solar panels on snowy ground can clearly benefit from forward scattering, helping to maximize winter electricity production

We

A seminal work of dystopian fiction that foreshadowed the worst excesses of Soviet Russia, Yevgeny Zamyatin\u27s We is a powerfully inventive vision that has influenced writers from George Orwell to Ayn Rand. In a glass-enclosed city of absolute straight lines, ruled over by the all-powerful \u27Benefactor\u27, the citizens of the totalitarian society of OneState live out lives devoid of passion and creativity - until D-503, a mathematician who dreams in numbers, makes a discovery: he has an individual soul. Set in the twenty-sixth century AD, We is the classic dystopian novel and was the forerunner of works such as George Orwell\u27s 1984 and Aldous Huxley\u27s Brave New World . It was suppressed for many years in Russia and remains a resounding cry for individual freedom, yet is also a powerful, exciting and vivid work of science fiction. Yevgeny Zamyatin (1884-1937) was a naval engineer by profession and writer by vocation, who made himself an enemy of the Tsarist government by being a Bolshevik, and an enemy of the Soviet government by insisting that human beings have absolute creative freedom. He wrote short stories, plays and essays, but his masterpiece is We , written in 1920-21 and soon thereafter translated into most of the languages of the world. It first appeared in Russia only in 1988. This edition is translated from the Russian with a foreword by Greagory Zilboorg, an introduction by Peter Rudy, and a preface by Marc Slonim

We

A seminal work of dystopian fiction that foreshadowed the worst excesses of Soviet Russia, Yevgeny Zamyatin\u27s We is a powerfully inventive vision that has influenced writers from George Orwell to Ayn Rand. In a glass-enclosed city of absolute straight lines, ruled over by the all-powerful \u27Benefactor\u27, the citizens of the totalitarian society of OneState live out lives devoid of passion and creativity - until D-503, a mathematician who dreams in numbers, makes a discovery: he has an individual soul. Set in the twenty-sixth century AD, We is the classic dystopian novel and was the forerunner of works such as George Orwell\u27s 1984 and Aldous Huxley\u27s Brave New World . It was suppressed for many years in Russia and remains a resounding cry for individual freedom, yet is also a powerful, exciting and vivid work of science fiction. Yevgeny Zamyatin (1884-1937) was a naval engineer by profession and writer by vocation, who made himself an enemy of the Tsarist government by being a Bolshevik, and an enemy of the Soviet government by insisting that human beings have absolute creative freedom. He wrote short stories, plays and essays, but his masterpiece is We , written in 1920-21 and soon thereafter translated into most of the languages of the world. It first appeared in Russia only in 1988. This edition is translated from the Russian with a foreword by Greagory Zilboorg, an introduction by Peter Rudy, and a preface by Marc Slonim

We

A seminal work of dystopian fiction that foreshadowed the worst excesses of Soviet Russia, Yevgeny Zamyatin\u27s We is a powerfully inventive vision that has influenced writers from George Orwell to Ayn Rand. In a glass-enclosed city of absolute straight lines, ruled over by the all-powerful \u27Benefactor\u27, the citizens of the totalitarian society of OneState live out lives devoid of passion and creativity - until D-503, a mathematician who dreams in numbers, makes a discovery: he has an individual soul. Set in the twenty-sixth century AD, We is the classic dystopian novel and was the forerunner of works such as George Orwell\u27s 1984 and Aldous Huxley\u27s Brave New World . It was suppressed for many years in Russia and remains a resounding cry for individual freedom, yet is also a powerful, exciting and vivid work of science fiction. Yevgeny Zamyatin (1884-1937) was a naval engineer by profession and writer by vocation, who made himself an enemy of the Tsarist government by being a Bolshevik, and an enemy of the Soviet government by insisting that human beings have absolute creative freedom. He wrote short stories, plays and essays, but his masterpiece is We , written in 1920-21 and soon thereafter translated into most of the languages of the world. It first appeared in Russia only in 1988. This edition is translated from the Russian with a foreword by Greagory Zilboorg, an introduction by Peter Rudy, and a preface by Marc Slonim

We

A seminal work of dystopian fiction that foreshadowed the worst excesses of Soviet Russia, Yevgeny Zamyatin\u27s We is a powerfully inventive vision that has influenced writers from George Orwell to Ayn Rand. In a glass-enclosed city of absolute straight lines, ruled over by the all-powerful \u27Benefactor\u27, the citizens of the totalitarian society of OneState live out lives devoid of passion and creativity - until D-503, a mathematician who dreams in numbers, makes a discovery: he has an individual soul. Set in the twenty-sixth century AD, We is the classic dystopian novel and was the forerunner of works such as George Orwell\u27s 1984 and Aldous Huxley\u27s Brave New World . It was suppressed for many years in Russia and remains a resounding cry for individual freedom, yet is also a powerful, exciting and vivid work of science fiction. Yevgeny Zamyatin (1884-1937) was a naval engineer by profession and writer by vocation, who made himself an enemy of the Tsarist government by being a Bolshevik, and an enemy of the Soviet government by insisting that human beings have absolute creative freedom. He wrote short stories, plays and essays, but his masterpiece is We , written in 1920-21 and soon thereafter translated into most of the languages of the world. It first appeared in Russia only in 1988. This edition is translated from the Russian with a foreword by Greagory Zilboorg, an introduction by Peter Rudy, and a preface by Marc Slonim