31,819 research outputs found
Extension of the sun-synchronous Orbit
No full textThrough careful consideration of the orbit perturbation force due to the oblate nature of the primary body a secular variation of the ascending node angle of a near-polar orbit can be induced without expulsion of propellant. Resultantly, the orbit perturbations can be used to maintain the orbit plane in, for example, a near-perpendicular (or at any other angle) alignment to the Sun-line throughout the full year of the primary body; such orbits are normally termed Sun-synchronous orbits [1, 2]. Sun-synchronous orbits about the Earth are typically near-circular Low-Earth Orbits (LEOs), with an altitude of less than 1500 km. It is normal to design a LEO such that the orbit period is synchronised with the rotation of the Earth‟s surface over a given period, such that a repeating ground-track is established. A repeating ground-track, together with the near-constant illumination conditions of the ground-track when observed from a Sun-synchronous orbit, enables repeat observations of a target over an extended period under similar illumination conditions [1, 2]. For this reason, Sun-synchronous orbits are extensively used by Earth Observation (EO) platforms, including currently the Environmental Satellite (ENVISAT), the second European Remote Sensing satellite (ERS-2) and many more. By definition, a given Sun-synchronous orbit is a finite resource similar to a geostationary orbit. A typical characterising parameter of a Sun-synchronous orbit is the Mean Local Solar Time (MLST) at descending node, with a value of 1030 hours typical. Note that ERS-1 and ERS-2 used a MLST at descending node of 1030 hours ± 5 minutes, while ENVISAT uses a 1000 hours ± 5 minutes MLST at descending node [3]. Following selection of the MLST at descending node and for a given desired repeat ground-track, the orbit period and hence the semi-major axis are fixed, thereafter assuming a circular orbit is desired it is found that only a single orbit inclination will enable a Sun-synchronous orbit [2]. As such, only a few spacecraft can populate a given repeat ground-track Sun-synchronous orbit without compromise, for example on the MLST at descending node. Indeed a notable feature of on-going studies by the ENVISAT Post launch Support Office is the desire to ensure sufficient propellant remains at end-of-mission for re-orbiting to a graveyard orbit to ensure the orbital slot is available for future missions [4]. An extension to the Sun-synchronous orbit is considered using an undefined, non-orientation constrained, low-thrust propulsion system. Initially the low-thrust propulsion system will be considered for the free selection of orbit inclination and altitude while maintaining the Sun-synchronous condition. Subsequently the maintenance of a given Sun-synchronous repeat-ground track will be considered, using the low-thrust propulsion system to enable the free selection of orbit altitude. An analytical expression will be developed to describe these extensions prior to then validating the analytical expressions within a numerical simulation of a spacecraft orbit. Finally, an analysis will be presented on transfer and injection trajectories to these orbits
Paducah sun.
No full textDescription based on: Vol. 6, no. 28 (Jan. 10, 1901).Continues: Weekly sun (non-extant)
Sun Carnival, El Paso, Texas, Jan. 1, 1938.
No full textImage of the ''Iowa'' float in the Sun Carnival parade in El Paso, Texas.Recto: [handwritten] Sun Carnival, El Paso, Texas, Jan. 1, 1938
Jan Sawka Mixed Media Paintings
No full textThis poster for an exhibition of Jan Sawka mixed media paintings features an illustration of a card with a sunset at the horizon, casting shadows onto the lined hills with trees. The typography in this includes camouflage, striped and image patterns.field with card as sun, type at the to
Jan Kapr's contribution to contemporary music : an essay about a composer and teacher
No full textThis creative project is a treatise on a leading personality of Czechoslovakian musical life, the composer, Jan Kapr. The author discusses the following:1. The complicated development of Kapr's career and work, 2. Kapr's method of organization of musical material in a composition, as described in his book Constants,3. His former and current style which is demonstrated in two of his compositions, Concert Variations, for flute and string orchestra and Testimonies for four solo instruments,4. Two of his recent works, Exercises for Gydli and the Symphony No. 7, Country of Childhood.Thesis (M.A.
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
ELEVEN FACES OF JAN GOGOL, JR.
No full textAuthor Jan Rendl in his thesis attempts to look at the world of ideas and educator Jan
Gogola ml. through the eleven chapters in which each chapter somehow characterizes itself by Jan Gogola ml. and each of them somehow determines its creative ideas of it through the metaphor of a football match when Jan Gogola, with its characters, movies himself a teammate, as well as defensively. It gives goals with their situations as well as occasionally digging his opponents ankles.
Jan Gogola ml. thus embodies one stage of the Department of Documentary Film at FAMU, which often stands at the intersection between teaching activities and Karel Vachek among students who applied by them during their seminars psychological methods that work must be peculiarly associated with the author of the film
Dr. Jan French – Faculty Author Interview
No full textDr. Jan French, Assistant Professor of Anthropology, discusses her new book, Legalizing Identities: Becoming Black or Indian in Brazil’s Northeast, which shows how law can successfully serve as the impetus for the transformation of cultural practices and collective identity
Jan Bernátek - organ works
No full textThis graduation thesis provides a more detailed view on compositoins of Jan Bernátek.The aim is to present this less well-known temporary czech author,who makes use of the organ in the majority of his work
KK1-0155 - Jan mari ai lam (Buying the sun) with English translation
No full textTranslation (Rita Seng Mai) There is only one sun now. There were nine suns in the past. Since there were nine suns, humans and animals couldn't survive. Then, they held knives, spears and bows and drove the nine suns away. All suns ran back to their sun land. There was no sun left on the earth. It was all dark the whole day and night. People couldn't do anything. They couldn't work or travel. In the end, humans and animals discussed going to the sun's land and asking the chief to return one sun to the earth. They decided to take one sun back for the earth. The chief from the sun land said, "You drove all the suns away. So, you need to offer valuable things to us if you want one sun back. If you can't offer, we won't open the gate." The suns lived inside the sun land, and the gate of the sun land was closed. People and animals decided to buy the sun. Then, they collected their valuable things. They could put anything valuable they owned. People cut their tails and gave them to buy the sun. Do you know the bat that looked like a bird and a mouse?" People went to the bats and asked them to give them something to buy the sun. But the bats said, "We are bird species. We will give when the birds ask for tax at that time." When they went to the mouse, it told them, "I will give my valuable things when the mice ask for tax." It didn't give anything too. So, the mice couldn't live under the sun. They couldn't work too. They just lived in the holes or burrows because they didn't help to buy the sun. In the past, dogs had horns too. The sweetest and the best food was always left in the mortar after people had pounded the grains. The dog often licked the food in the mortar. But the horns were always stuck in the mortar. So, the dog gave his horns to the goat. When people asked the dog to give something to buy the sun, it didn't have anything to share. That's why the dog's tongue was in and out when it was sunny. The horse gave his horns while the buffalo gave his horn in the middle of his head. So, the horse doesn't have any horns now. The buffalo gave his valuable horn too. The chief from the sun land accepted their offer. The chief said, "I will open the gate tomorrow." And he told the chicken, "Chickens are sharp-eared. Listen carefully to the sound when I open the gate tomorrow morning. As soon as you hear the sound, let people know by crowing." So, the chicken crowed early in the morning to let people know that the sun land's gate was opening. The meaning behind the cock's crow is like that. It's not that they are crowing whenever they want. The chickens always listened to the gate opening sound and woke people up. This is the reason why the cock crows early in the morning. People know the sun will rise when they hear the cock's crow. People are waiting for the sunrise from the east. Do you know frogs? People were facing the east and waiting for the sunrise. The frog was also waiting for the sun. People said, "The frog, you didn't give anything when we bought the sun. Don't face the east! You can't look at the sun." Then, the frog went up the mountain from the west and waited for the sun. Since it was on the mountain, it saw the sunrise first. The frog shouted, "The sun is rising." People said angrily, "Why did you shout like that before we say anything? You didn't even offer anything." They pinched it hard. That's why the frog has many warts on its back and becomes a toad. Since the bats didn't give anything, they couldn't live in the sun too. They had to find food at night. This is our Kachin story. I am just sharing this story in brief. Transcription (La Ring) Ya ndai anhte na mungkan ga gaw ya gaw jan langai sha re le i. Raitim mung moi gaw ningju jan jahku pru ai da mungkan ga de. Jan jahku pru wa jang she nau kahtet ai majaw shinggyim masha ni dusat dumyeng ni gaw nlu hkam ai. Ndang hkam ai ndang hkam ai majaw shanhte gaw ri nhtu ndan pala shagreng nna jan nat jan jahku hpe shachyut kau ai le. Anat ajan ni hpe yawng shachyut kau jang she langai mung nngam da jan ni mung yawng jan ga de wa mat ai. Rai yang gaw shinggyim masha ni kaw gaw nsin chyip rai sai. Rai yang gaw ningsin chyip rai mat wa ai re majaw gaw hpa galaw mung nmai sai. Tam lu tam sha mung nmai sai yi hkyen mung nmai sai kanang bu hkawm bu sa mung nmai sai. Rai na ningsin kaw chyu nga ai da. Re majaw gaw shinggyim masha ni dusat dumyeng ni gaw yawng bai bawng nna she wora jan ga de i jan hkaw hkam wa kaw sa nna jan bai hpyi ai le e. Dai majaw da shanhte gaw yawng zuphpawng kaba galaw nna jan hpe lung shaga na matu daw dan ai da. Shingrai shanhte jan hpe lung shaga ai shaloi jan mungdan jan magam du le i jan hkaw hkam wa gaw tsun ai gaw "Nanhte mungkan masha ni jan hpe shachyut kau masai. Dai re majaw nanhte jan hpe bai ra yang gaw manu jahpu jaw nna mari la ra na myit dai. Manu jahpu yang jan chyinghka nhpaw ya na" ngu na tsun ai. Wo jan dawng de jan ni gaw dai de nga sai le i jan chyinghka nhpaw ya sai le nsin chyip rai sai le. Dai majaw gaw e shanhte gaw jan hpe mari na matu dusat ni mi da i shinggyim masha ni mi da dai hku na bawng nna mari na matu tinang lu ai arai ni le i rai yang gaw ndai lahkawn ai le. Ndai tinang lu ai arai ni hpe jan mari na matu lahkawng rai yang gaw e shinggyim masha ni gaw nmai hpe daw nna dai dai kaw bang ai le i. Rai jang she pazip ngu ai gaw bat le pazip le pazip chye ai i? E pazip rai jang gaw shi gaw yu zawn zawn u zawn zawn re mu i. Rai jang gaw pazip gaw pazip kaw sa ai da "Nang bang u arang bang u ya jan sa mari sagaw" ngu jang pazip gaw hpabaw tsun ai i nga jang "Umm ngai gaw u amyu she re ya u amyu ni kaw ahkun hta ai shaloi ngai bang na" ngu nbang ai da. Rai yang gaw hpang jahtum bai u kaw sa jang mung "Humm ngai gaw u amyu nre yu she re yu amyu re. Dai majaw ngai yu amyu ni hta bang na" nga na shi gaw nbang ai le i. E yu nbang ai majaw ya daini du hkra shi gaw jan ja ai kaw shi nnga lu ai jan hta shi hpa nmai galaw ai. Htaw hku kaw matsut rawng nga na shana nsin she i e shi jan mari ai nlawm ai majaw le e dai hku na Jinghpaw ni gaw dai hku na hkai ai le. Rai jang she moi gaw gwi ma rung tu ai da. Rai yang gaw gwi ma rung tu rai yang gaw raitim shi gaw ndai Jinghpaw buga de mam htu ai shaloi ndai hpang jahtum e mam hpe shatsawm la ai shaloi hkugwi grai dwi ai ni gaw htum hku kaw rawng ai le. Miyat na ndai htum hku dai kaw ngam taw nga ai ndai kaw ngam taw nga ai nre i dai hpe shi gaw gwi gaw mata ai le. Mata yang gaw rung kadut da. Rung kadut jang she shi gaw bainam hpe ya kau ai hku nga e dai shi na rung "Maw nang la kau" ngu na ya kau. Rai yang gaw shi kaw ndai ahkun hkan se jan mari na hta ai shaloi gaw hpa bang na ma nlu sai da gwi gaw. E dai re majaw shi mung nbang lawm ai dai majaw ya gwi gaw jan ja jang e shinglet shaw nna e haw he na e (mani let) nga ra ai gaw dai majaw re ai da. Rai jang gaw e gumra gaw rung malawk nna jaw dat ai le i nga wuloi rai jang gaw ndai wa ndai ntsa na rai ang sai i dai malawk jaw kau dat ai. Dai majaw gumra gaw daini du hkra rung ntu ai. Rai na she ndai nga wuloi mung wa dai yawng jaw kau sai le i rai yang shanhte gaw dai kaw na gaw e jan hkaw hkam wa mung hkap la sai ga rai nga ai. Shinggyim masha ni hpabaw hpabaw ngu jaw dat jang gaw jan hkaw hkam wa hkap la rai na she "Ya hpawt de ngai jan chyinghka hpaw na" nga na u la ya htaw goi ai u la hpe shi tsun da ai gaw "Nanhte u ni gaw na grai hpa ai amyu i na grai hpa ai amyu hpa mung grai na ai re majaw gaw ya ngai hpawtni hpawtde yup tung lai de jan chyinghka hpaw ai shaloi madat u. Jan chyinghka hpaw ai shaloi chyinghka hpaw ai shaloi gaw nsen wa nyet nga ai le i dai madat u. Jan chyinghka hpaw nyet nga hte rau gaw nang goi na shinggyim masha ni hpe shana u" ngu ai da. Re majaw gaw u mung manu mana dai kaw she madat nna she goi dat ai hku rai nga "Wo jan chyinghka hpaw sai lo" ngu na jahpawt jau jau u goi ai gaw dai re da yaw. Majoi goi ai nre "Jan chyinghka hpaw sai" ngu hpa majaw nga yang anhte mari la sai gaw i. Rai yang gaw dai u hpe gaw dai hku na shi gaw jan chyinghka hpaw ai hpe madat nna anhte hpe shinggyim masha ni hpe goi dan ai le. Dai gaw e jan u hpa majaw jahpawt jan pru wa na shaloi i jahpawt nhtoi htoi na shaloi u goi ai ngu gaw dai a matsun gaw dai hku nga ai. Rai jang she shinggyim masha ni gaw dai u shana sai hte maren gaw sinpraw maga de jan pru wa na re majaw gaw ndai hku na she yawng gaw e jan hpe la taw ai le i. Yawng gaw nang kaw sinpraw maga de jan hpe la taw rai jang she shu chyit ngu ai shu chyit ngu ai chye ai i? Shu le shu chyit le shu chyit amyu le shu chyit ngu gaw e... Um rai yang gaw shinggyim masha ni gaw htaw shara mi kaw ndai i dai kaw zuphpawng nna she e jan pru maga de le i sinpraw de mada ai le. Mada rai yang gaw shu wa mung she ning rai na mada lawm ai da. Ning rai na mada lawm jang she "E shu nang gaw jan mari ai kaw nang nlawm ai hkum yu sinpraw de hkum mada nang hkum yu jan pru ai nang nmai yu ai" nga yang shu gaw shingdu galau nna she htaw bum gaw ning re le i ndai maga ma nga ai le ndai maga tsaw ai. Rai she shi gaw sinna maga na bum kaw ning rai na nga nga yang she wora jan wa she shi gaw htawra sinna bum de shawng kap wa ai hku rai nga jan shingna wa. E shu chyit wa she "E jan pru wa sai lo" ngu shi shawng mu ai mu i nang kaw na garai npru yang htawra de wa shawng mu rai shu chyit gaw "E jan pru wa sai lo" ngu jang she "Nang gaw anhte pa garai ntsun yang nang tsun ai. Nang jan mari mung nlawm ai" nga yawng jawm mahti dai shu hpe. Dai shaloi shu chyit garai nrai shi ai le i. Yawng jawm mahti jang she dai kaw na shu ni gaw dai kaw na nma kap di bawng bawng bawng re nga. E dai shu chyit gaw dai kaw na shu chyit tai wa ai le i. E dai hpe anhte maumwi nga ai. Rai na pazip gaw mi na tsun ai shi mung hpa nbang ai i yu zawn zawn u zawn zawn re majaw shi gaw ya shani nmai nga ai e shana sha dai hku nga ai nga na anhte na maumwi nga ai le anhte Jinghpaw na maumwi. E dai gaw e ndai ashe Jinghpaw na makam maumwi i daw chyen mi re kadun ai hku tsun dan ai ga le. . Language as given: Jinghpa
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