Methods of Signal Analysis

An unusual VLF signature structure recorded by the DEMETER satellite

“…To assist the understanding of the possible changing of an STW pattern during a longer propagation in the magnetosphere we made model computations using the full‐wave ultra wideband (UWB) propagation model working perfectly in the ionospheric, magnetospheric investigations [ Ferencz et al , 2001, 2007]. In this model computations we did not take into account any reflection mechanism, only longitudinal propagation and we used as excitation (source) signal an STW signal recorded by the DEMETER (see Figure 1).…”

“…(8) STWs were probably found in ground‐based measurements and it is possible that STWs were detected, however not identified in earlier satellite experiments, too. (9) From theoretical point of view it is of importance to find a specific sort of signal‐medium interaction which results in an STW if applied in the analytical UWB solutions of the Maxwell's equations [ Ferencz et al , 2001].…”

“…The magnetic latitude corresponding to the satellite position (L = 2.1 or 2.07) and the low and medium magnetic activity before the data acquisitions containing STWs (filled plasmasphere) yield one‐hop whistlers with D 0 = 50∼80 s 1/2 , thus the main trace of the STWs could not be one‐hop traces. However, oblique propagation of a fractional hop whistler may lead to such a dispersion [ Ferencz et al , 2001].…”

Paradise from behind the Iron Curtain

“…While in America 'Milton became a powerful historical point of reference in the shaping of postwar liberalism', 44 in Hungary a quiet but prolonged cultural cold war was fought around Milton and the Miltonic oeuvre. Cultural conflict was of course an integral part of Milton's own life and works, and has thoroughly saturated Milton's critical heritage, 45 but in the chapters below we will encounter a mode of reception where, ironically, such tensions emerged within a system that was actively promoting and working towards the suppression of dissent. To greater or lesser extents this was of course characteristic of other countries of the former Eastern bloc, 46 but the Hungarian situation is remarkable for the breadth and intensity of reception.…”

“…Szabó describes the process of translation as the enthusiastic 'joy of appropriation deriving from the recomposing of the poem, which is about the same as the joy of creation' (birtokbavétel öröme, amit a vers újraköltése nyújt, s amely körülbelül azonos a teremtés örömével), stating at the same time that 'nobody can translate above his/ her original poetic rank' (nem fordíthat senki a maga eredeti költői rangján felül). 45 As the critic Lóránt Kabdebó points out, the close integration of Szabó's original work with his output as a literary translator bears out these propositions: throughout his career the choice of poems to be translated and his poetics of translation changed in tandem with the evolution of his poetry. 46 The personal and professional contexts for Szabó's translation of Paradise Lost are therefore worth a closer look.…”