Tsunami simulation and detection using global navigation satellite system reflectometry

In this thesis, research for tsunami remote sensing using the Global Navigation Satellite System-Reflectometry (GNSS-R) delay-Doppler maps (DDMs) is presented. Firstly, a process for simulating GNSS-R DDMs of a tsunami-dominated sea sur- face is described. In this method, the bistatic scattering Zavorotny-Voronovich (Z-V) model, the sea surface mean square slope model of Cox and Munk, and the tsunami- induced wind perturbation model are employed. The feasibility of the Cox and Munk model under a tsunami scenario is examined by comparing the Cox and Munk model- based scattering coefficient with the Jason-1 measurement. A good consistency be- tween these two results is obtained with a correlation coefficient of 0.93. After con- firming the applicability of the Cox and Munk model for a tsunami-dominated sea, this work provides the simulations of the scattering coefficient distribution and the corresponding DDMs of a fixed region of interest before and during the tsunami. Fur- thermore, by subtracting the simulation results that are free of tsunami from those with presence of tsunami, the tsunami-induced variations in scattering coefficients and DDMs can be clearly observed. Secondly, a scheme to detect tsunamis and estimate tsunami parameters from such tsunami-dominant sea surface DDMs is developed. As a first step, a procedure to de- termine tsunami-induced sea surface height anomalies (SSHAs) from DDMs is demon- strated and a tsunami detection precept is proposed. Subsequently, the tsunami parameters (wave amplitude, direction and speed of propagation, wavelength, and the tsunami source location) are estimated based upon the detected tsunami-induced SSHAs. In application, the sea surface scattering coefficients are unambiguously re- trieved by employing the spatial integration approach (SIA) and the dual-antenna technique. Next, the effective wind speed distribution can be restored from the scat- tering coefficients. Assuming all DDMs are of a tsunami-dominated sea surface, the tsunami-induced SSHAs can be derived with the knowledge of background wind speed distribution. In addition, the SSHA distribution resulting from the tsunami-free DDM (which is supposed to be zero) is considered as an error map introduced during the overall retrieving stage and is utilized to mitigate such errors from influencing sub- sequent SSHA results. In particular, a tsunami detection procedure is conducted to judge the SSHAs to be truly tsunami-induced or not through a fitting process, which makes it possible to decrease the false alarm. After this step, tsunami parameter estimation is proceeded based upon the fitted results in the former tsunami detec- tion procedure. Moreover, an additional method is proposed for estimating tsunami propagation velocity and is believed to be more desirable in real-world scenarios. The above-mentioned tsunami-dominated sea surface DDM simulation, tsunami detection precept and parameter estimation have been tested with simulated data based on the 2004 Sumatra-Andaman tsunami event.

The mermaid series of Elizabethan and Jacobean dramatists (1887-1909): a literary and critical history

The Mermaid Series (1887-1909) edited by Havelock Ellis was a major watershed in appreciation of Elizabethan and Jacobean drama. Before it appeared plays were available to general readers in scattered anthologies, large expensive collected editions or in expurgated selections which included only the more lyrical speeches and memorable scenes. Criticism of the drama followed suit; the majority of critics concentrated on the sections which appealed to the romantic and sentimental tastes of nineteenthcentury readers. The two men who conceived the Mermaid Series, John Addington Symonds and Havelock Ellis, approached the drama differently from their contemporaries; Symonds studied a play as a whole work of art and Ellis concentrated on its view of life. Both were unsatisfied with the "select beauties", fragmented approach and wanted readers to have the best plays in their entirety easily available in handy, inexpensive editions. Symonds's awareness of the drama as theatre was combined with a historical perspective allowing him to judge the drama in relation to its own time. He made a lasting but hitherto underestimated contribution to study of Beaumont and Fletcher, Dekker, Marlowe, and Ford. Ellis's work on the drama is overshadowed today by his studies of sex but his concentration on ideas and appreciation of unconventional behaviour enabled him to formulate new views on Ford, Middleton and Chapman. The two other major editors to work on the series, A. C. Swinburne and Arthur Symons had more conventional nineteenth-century approaches. Both were impressionistic critics who were most attracted to the l~nguage of the drama. Swinburne, however, occasionally transcended his fragmented approach and offered significant interpretations of Tourneur, Massinger; 'The .Changeling, Heywood. Symons's range was more limited but his form of impressionism was valuable for its concentration on the aesthetic experience at the heart of a work of art. His most important contributions were the study of Middleton and Massinger. Besides these four major critics numerous lesser writers worked on the series. Their editorial work was valuable and some, notably Ernest Rhys, c. H. Herford and Thomas Dickinson offered criticism of enduring importance. In my first chapter I consider the general availability of texts of the Elizabethan and Jacobean drama in the nineteenth century, the general attitudes towards the drama, and the critical approaches of each of the editors. The subsequent chapters are organized around the volumes of the series. I consider the climate of opinion in which each appeared, assess its critical and editorial contribution and evaluate the work of the other Mermaid editors on the dramatist included in the volume. My study shows that the concept of the Mermaid Series and the work of its editors helped to revolutionize study of the Elizabethan and Jacobean dramatists by providing good texts and by pointing the way to our present view of the plays as whole works of art.