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Arxiv:1912.09192V2 [Astro-Ph.EP] 24 Feb 2020
Draft version February 25, 2020 Typeset using LATEX preprint style in AASTeX62 Photometric analyses of Saturn's small moons: Aegaeon, Methone and Pallene are dark; Helene and Calypso are bright. M. M. Hedman,1 P. Helfenstein,2 R. O. Chancia,1, 3 P. Thomas,2 E. Roussos,4 C. Paranicas,5 and A. J. Verbiscer6 1Department of Physics, University of Idaho, Moscow, ID 83844 2Cornell Center for Astrophysics and Planetary Science, Cornell University, Ithaca NY 14853 3Center for Imaging Science, Rochester Institute of Technology, Rochester NY 14623 4Max Planck Institute for Solar System Research, G¨ottingen,Germany 37077 5APL, John Hopkins University, Laurel MD 20723 6Department of Astronomy, University of Virginia, Charlottesville, VA 22904 ABSTRACT We examine the surface brightnesses of Saturn's smaller satellites using a photometric model that explicitly accounts for their elongated shapes and thus facilitates compar- isons among different moons. Analyses of Cassini imaging data with this model reveals that the moons Aegaeon, Methone and Pallene are darker than one would expect given trends previously observed among the nearby mid-sized satellites. On the other hand, the trojan moons Calypso and Helene have substantially brighter surfaces than their co-orbital companions Tethys and Dione. These observations are inconsistent with the moons' surface brightnesses being entirely controlled by the local flux of E-ring par- ticles, and therefore strongly imply that other phenomena are affecting their surface properties. The darkness of Aegaeon, Methone and Pallene is correlated with the fluxes of high-energy protons, implying that high-energy radiation is responsible for darkening these small moons. Meanwhile, Prometheus and Pandora appear to be brightened by their interactions with nearby dusty F ring, implying that enhanced dust fluxes are most likely responsible for Calypso's and Helene's excess brightness. -
A Wunda-Full World? Carbon Dioxide Ice Deposits on Umbriel and Other Uranian Moons
Icarus 290 (2017) 1–13 Contents lists available at ScienceDirect Icarus journal homepage: www.elsevier.com/locate/icarus A Wunda-full world? Carbon dioxide ice deposits on Umbriel and other Uranian moons ∗ Michael M. Sori , Jonathan Bapst, Ali M. Bramson, Shane Byrne, Margaret E. Landis Lunar and Planetary Laboratory, University of Arizona, Tucson, AZ 85721, USA a r t i c l e i n f o a b s t r a c t Article history: Carbon dioxide has been detected on the trailing hemispheres of several Uranian satellites, but the exact Received 22 June 2016 nature and distribution of the molecules remain unknown. One such satellite, Umbriel, has a prominent Revised 28 January 2017 high albedo annulus-shaped feature within the 131-km-diameter impact crater Wunda. We hypothesize Accepted 28 February 2017 that this feature is a solid deposit of CO ice. We combine thermal and ballistic transport modeling to Available online 2 March 2017 2 study the evolution of CO 2 molecules on the surface of Umbriel, a high-obliquity ( ∼98 °) body. Consid- ering processes such as sublimation and Jeans escape, we find that CO 2 ice migrates to low latitudes on geologically short (100s–1000 s of years) timescales. Crater morphology and location create a local cold trap inside Wunda, and the slopes of crater walls and a central peak explain the deposit’s annular shape. The high albedo and thermal inertia of CO 2 ice relative to regolith allows deposits 15-m-thick or greater to be stable over the age of the solar system. -
“Savage and Deformed”: Stigma As Drama in the Tempest Jeffrey R
“Savage and Deformed”: Stigma as Drama in The Tempest Jeffrey R. Wilson The dramatis personae of The Tempest casts Caliban as “asavageand deformed slave.”1 Since the mid-twentieth century, critics have scrutinized Caliban’s status as a “slave,” developing a riveting post-colonial reading of the play, but I want to address the pairing of “savage and deformed.”2 If not Shakespeare’s own mixture of moral and corporeal abominations, “savage and deformed” is the first editorial comment on Caliban, the “and” here Stigmatized as such, Caliban’s body never comes to us .”ס“ working as an uninterpreted. It is always already laden with meaning. But what, if we try to strip away meaning from fact, does Caliban actually look like? The ambiguous and therefore amorphous nature of Caliban’s deformity has been a perennial problem in both dramaturgical and critical studies of The Tempest at least since George Steevens’s edition of the play (1793), acutely since Alden and Virginia Vaughan’s Shakespeare’s Caliban: A Cultural His- tory (1993), and enduringly in recent readings by Paul Franssen, Julia Lup- ton, and Mark Burnett.3 Of all the “deformed” images that actors, artists, and critics have assigned to Caliban, four stand out as the most popular: the devil, the monster, the humanoid, and the racial other. First, thanks to Prospero’s yarn of a “demi-devil” (5.1.272) or a “born devil” (4.1.188) that was “got by the devil himself” (1.2.319), early critics like John Dryden and Joseph War- ton envisioned a demonic Caliban.4 In a second set of images, the reverbera- tions of “monster” in The Tempest have led writers and artists to envision Caliban as one of three prodigies: an earth creature, a fish-like thing, or an animal-headed man. -
Volvo-Wheel-Brochure.Pdf
S40, V50 (2004.5 on) VOLVO ALLOY WHEELS Adaro: Silverstone Caligo: Silverstone Castalia: Silverstone Cepheus: Silverstone Clava: Black Chrome Cygnus: Silverstone Medea: Silver Bright Medusa: Silver Bright Sagitta: Silver Bright Sculptor: Silver Bright Stylla: Silverstone S40, V40 (up to model year 2004) Adaro (15”) Adrastea (16”) Amalthea (17”) Andromeda (16”) Antlia (15”) Aquarius (17”) Ares (16”) Argo (15”) Argon (15”) Ares: Silver Bright Crater: Silver Cronus: Silver Bright Galactica: Silverstone Helia: Silver Spectra: Dark Silver Stellar: Silverstone Telesto: Silverstone C70 Andromeda: Silver Bright Ariane (15”) Arrakis (17”) Atlantis (18”) Caligo (16”) Canisto (17”) Capella (18”) Castalia (16”) Centaurus (16”) Cepheus (16”) Canisto: White Silver and Anthracite Centaurus: White Silver Ceres: Silver Bright Comet C: Silver Bright Cratos: Silver Bright Helios: Dark Silver Helium: White Silver Propus C: Silverstone Solar: Silver Bright Triton: Silver Zeus: Silver Bright Ceres (16”) Cetus (15”) Clava (16”) Columba (16”) Comet (17”) Crater (16”) Cratos (17”) Cronos (16”) Cygnus (16”) S60, S80, V70 (2001 on) Adrastea: Silverstone (excluding S80, XC70) Amalthea: Silver Bright Argon: Silverstone (excluding XC70) Arrakis: Silver Bright (S60, S80 only) Capella: Silver Bright Icarus: Silverstone Interceptor: Silver Bright (S60, S80 only) Lysithea: Silverstone (excluding XC70) Metis: Silverstone Mimas: Silverstone (excluding S80, XC70) Miram: Silverstone Galactica (16”) Helia (16”) Helium (16”) Icarus (16”) Interceptor (17”) Lysithea (15”) Medea -
Planetary Nomenclature: an Overview and Update
3rd Planetary Data Workshop 2017 (LPI Contrib. No. 1986) 7119.pdf PLANETARY NOMENCLATURE: AN OVERVIEW AND UPDATE. T. Gaither1, R. K. Hayward1, J. Blue1, L. Gaddis1, R. Schulz2, K. Aksnes3, G. Burba4, G. Consolmagno5, R. M. C. Lopes6, P. Masson7, W. Sheehan8, B.A. Smith9, G. Williams10, C. Wood11, 1USGS Astrogeology Science Center, Flagstaff, Ar- izona ([email protected]); 2ESA Scientific Support Office, Noordwijk, The Netherlands; 3Institute for Theoretical Astrophysics, Oslo, Norway; 4Vernadsky Institute, Moscow, Russia; 5Specola Vaticana, Vati- can City State; 6Jet Propulsion Laboratory, California Institute of Technology, Pasadena, California; 7Uni- versite de Paris-Sud, Orsay, France; 8Lowell Observatory, Flagstaff, Arizona; 9Santa Fe, New Mexico; 10Minor Planet Center, Cambridge, Massachusetts; 11Planetary Science Institute, Tucson, Arizona. Introduction: The task of naming planetary Asteroids surface features, rings, and natural satellites is Ceres 113 managed by the International Astronomical Un- Dactyl 2 ion’s (IAU) Working Group for Planetary System Eros 41 Nomenclature (WGPSN). The members of the Gaspra 34 WGPSN and its task groups have worked since the Ida 25 early 1970s to provide a clear, unambiguous sys- Itokawa 17 tem of planetary nomenclature that represents cul- Lutetia 37 tures and countries from all regions of Earth. Mathilde 23 WGPSN members include Rita Schulz (chair) and Steins 24 9 other members representing countries around the Vesta 106 globe (see author list). In 2013, Blue et al. [1] pre- Jupiter sented an overview of planetary nomenclature, and Amalthea 4 in 2016 Hayward et al. [2] provided an update to Thebe 1 this overview. Given the extensive planetary ex- Io 224 ploration and research that has taken place since Europa 111 2013, it is time to update the community on the sta- Ganymede 195 tus of planetary nomenclature, the purpose and Callisto 153 rules, the process for submitting name requests, and the IAU approval process. -
When the Net Force That Acts on a Hockey Puck Is 10 N, the Puck
Chapter 5 Circular Motion, the Planets, and Gravity Uniform Circular Motion Uniform circular motion is the. motion of an object traveling at a constant (uniform) speed in a circular path. • Because velocity is a vector, with a magnitude and direction, an object that is turning at a constant speed has a change in velocity. The object is accelerating. – If the object was not accelerating, it would be traveling at a constant speed in a straight line. – We will determine the magnitude and direction of the acceleration for an object moving at a constant speed in a circle Direction of Acceleration for Uniform Circular Motion. v Define an axis that is always tangential to the velocity (t), and an axis that is always perpendicular to that, radial (r), or centripetal (c). What would an acceleration in the tangential direction do? It must change the speed of the object. But for uniform circular motion, the speed doesn’t change, so the acceleration can not be tangential and must be radial. Consider a object that is twirled on a v1 string in a circle at a constant speed in a clockwise direction, as shown. Let’s P1 find the direction of the average P2 acceleration between points P1 and P2? v2 – v1 = Dv v1 + Dv = v2 v2 v This direction of Δv is the direction 1 of the acceleration. It is directly toward the center of the circle at the v2 Dv point midway between P1 and P2. The direction of acceleration is toward the center of the circle. It is called centripetal (center-seeking) acceleration. -
Titan and the Moons of Saturn Telesto Titan
The Icy Moons and the Extended Habitable Zone Europa Interior Models Other Types of Habitable Zones Water requires heat and pressure to remain stable as a liquid Extended Habitable Zones • You do not need sunlight. • You do need liquid water • You do need an energy source. Saturn and its Satellites • Saturn is nearly twice as far from the Sun as Jupiter • Saturn gets ~30% of Jupiter’s sunlight: It is commensurately colder Prometheus • Saturn has 82 known satellites (plus the rings) • 7 major • 27 regular • 4 Trojan • 55 irregular • Others in rings Titan • Titan is nearly as large as Ganymede Titan and the Moons of Saturn Telesto Titan Prometheus Dione Titan Janus Pandora Enceladus Mimas Rhea Pan • . • . Titan The second-largest moon in the Solar System The only moon with a substantial atmosphere 90% N2 + CH4, Ar, C2H6, C3H8, C2H2, HCN, CO2 Equilibrium Temperatures 2 1/4 Recall that TEQ ~ (L*/d ) Planet Distance (au) TEQ (K) Mercury 0.38 400 Venus 0.72 291 Earth 1.00 247 Mars 1.52 200 Jupiter 5.20 108 Saturn 9.53 80 Uranus 19.2 56 Neptune 30.1 45 The Atmosphere of Titan Pressure: 1.5 bars Temperature: 95 K Condensation sequence: • Jovian Moons: H2O ice • Saturnian Moons: NH3, CH4 2NH3 + sunlight è N2 + 3H2 CH4 + sunlight è CH, CH2 Implications of Methane Free CH4 requires replenishment • Liquid methane on the surface? Hazy atmosphere/clouds may suggest methane/ ethane precipitation. The freezing points of CH4 and C2H6 are 91 and 92K, respectively. (Titan has a mean temperature of 95K) (Liquid natural gas anyone?) This atmosphere may resemble the primordial terrestrial atmosphere. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
10 Ecce Parentes
“Ch 10” YON-II/ Ramos 1 10 ECCE PARENTES Walking on water was an angel. He was Uriel, the Archangel of Wisdom, one of Earth’s overseers and a liaison between Heaven and Earth. He was tall, imposing, and two ranks above Setebos in the Watcher chain of command. Thanks to having been Miranda’s protégé once upon a time, Cora knew who Uriel was, and none of those things she gave a damn. From the shoreline of the inner cave, she stood her ground. “Did you come here,” she said, “just to say that?” “Cora --” Setebos began, anxiously. “No,” Uriel said, “although I was surprised by your – er – present condition, young woman. Perhaps I spoke out of turn.” “PERHAPS?” “Cora, please --” “Setebos,” Uriel said. “Sir?” The archangel shook his head. “I think we’re beyond formalities now, Setebos. I came here to bring a message to you, a fallen Watcher who cared enough about good and evil to put yourself in solitary. However, I see that you still have that Celestial Engineer temptation to ‘fix’ humans and thus create unnecessary complications for yourself --” Uriel nodded towards Cora, “-- and others.” Cora clenched her jaw but remained silent. “I failed,” Setebos said. “That’s why you’re here, right? Despite my precautions, I meddled with the affairs of humans again…” He trailed off. “You came to tell me that the Reboot will happen.” “Yes,” Uriel confirmed. “However, the Reboot isn’t because of you. As this young woman can attest, Earth has become too corrupted to remain as is. It needs a clean slate to restart anew.” “But what about her and --” “I need to walk,” Cora announced, angry that they were talking about her in the third person, as if she weren’t there. -
A Midsummer Night's Dream, by William Shakespeare Being Most
A Midsummer Night's Dream, by William Shakespeare Being Most Shamelessly Condensed for a Small Company and Limited Duration by Jennifer Moser Jurling With Mechanics Set Forth for Use in the Role-Playing Game The Play's the Thing, by Mark Truman With Thanks to MIT for http://shakespeare.mit.edu/ DRAMATIS PERSONAE OBERON, king of Faerie. Part: Faerie. Plot: Betrayer to Titania. Prop: Lantern. PUCK, servant to Oberon. Part: Faerie. Plot: Sworn to Oberon. Prop: Disguise. TITANIA: queen of Faerie. Part: Faerie. Plot: Rival to Oberon. Prop: Coin. THESEUS: duke of Athens. Part: Ruler. Plot: In Love with Hippolyta. Prop: Crown. HIPPOLYTA: queen of Amazons. Part: Maiden. Plot: In Love with Theseus. Prop: Crown. PETER QUINCE: director, Athens Acting Guild. Part: Hero. Plot: Rival to Nick Bottom. Prop: Letter. NICK BOTTOM: actor in the guild. Part: Fool. Plot: Rival to Peter Quince. Prop: Lantern. SNUG: actor in the guild. Part: Commoner. Plot: Friend to Peter Quince. Prop: Disguise. Note to Playwright: You may wish to use “In Love with Hippolyta” as Oberon’s starting plot and “In Love with Theseus” as Titania’s starting plot. Of course, these can also be added later or not at all. ACT I Faerie king Oberon and his queen, Titania, quarrel. (Titania has a changeling human boy among her attendants, and she refuses to let him be one of Oberon’s henchmen. They also argue over Oberon’s love for Hippolyta and Titania’s love for Theseus.) Oberon enlists his servant Puck to fetch a flower that will enable him to cast a love spell on Titania, so that she will fall in love with a monstrous beast. -
Diameter/Density Table of Planetary Bodies Budapest 2011
Cosmic Materials Space Research Group Eötvös Loránd University Diameter/Density table of Planetary boDies Budapest 2011 3 2 >10 >6 >5.5 >5 >4.5 >4 >3.75 >3.5 >3.25 >3 >2.75 >2.5 >2.25 >2 >1.75 >1.5 >1.25 >1 >0.75 >0.5 >0.25 >0 g/cm m Puffy 8 k Puffy 7 m WASP-17b k M HAT-P-1b m 0 171000 0.51 . 247000 0.16 . k 0 9 0 1 1130K 6 0 6 1 0 , 2-75 4 0 3 HD 209458 7 6 5 Osiris , > 1 3 > 2800K 6 187000 0.4 . 5 1 WASP-14b > 182000 5.5 . 1187K 10 165K 778.5 134K 1433 HAT-P-2b Jupiter Saturn 139000 12-14 . 142984 1.33 34% 120536 0.69 34% 0 9 0 0 2 0 8 5 , 8 8 , 6 1 6 7 > 7 > > 1650K 6 712K 4 Kepler-4b GJ 436 b 51000 2.86 . 62000 1.4 . 0 2 0 0 3 0 4 , 6 4 , 8 72K ice giant 4503 4 76K ice giant 2876 8 3 > Neptune 3 > Uranus 1500K 3 > 49528 1.64 29% 51118 1.27 30% Corot-7b 20,000 5-10 . 900K? 13 Ocean Planet 2 Mu Arae c GJ 1214 b 34000 1.8-2.5. 10M ? . 300K? 127 0 8 0 0 5 Kepler-22b 0 2 1 2 9 1 30000 ?? .? 9 1 > 1 > > 1180K 2 287K 149 735K 108 55Cnc-e Earth Venus 15000? 6? . 12742 5.51 29% 12102 5.20 90% 0 9 0 0 8 0 6 2 6 9 > 9 > > 200-340K 58 210K 228 Galilean Jupiter III Mercury Mars Ganymede 4878 5.43 12% 6792 3.93 25% 5268 1.94 43% Saturn VI 0 0 0 2 Titan 0 8 7 8 4 > 5152 1.88 22% ] 4 > > Galilean Jupiter IV m k [ Callisto R ] 4820 1.83 22% E m Galilean Jupiter I 136199 SDO 10120 T k E [ Io Moon Eris M A R 3660 3.53 63% 3474 3.35 12% ~2600 2.2-2.5 86% I D E 0 T 0 0 8 0 4 1 E 4 2 > 2 > M > A I D Uranus III Galilean Jupiter II 136108 TNO 6452 Neptune I Uranus II Saturn V Triton Titania Umbirel Rhea Europa Haumea 1576 1.71 17% 1569 3.01 67% 1960×996 2.6-3.3 1353 2.06 76% Uranus I 1169 1.4 10% 1532 1.24 94*% 134340 KBO5874 Ariel Saturn VIII 0 1162 1.66 23% 5 0 0 . -
Abhandlungen Der Braunschweigischen Wissenschaftlichen Gesellschaft Band 44, 1993, S.131-186
Digitale Bibliothek Braunschweig Dionysos von Homer bis heute. Eine Skizze Maurach, Gregor Veröffentlicht in: Abhandlungen der Braunschweigischen Wissenschaftlichen Gesellschaft Band 44, 1993, S.131-186 Verlag Erich Goltze KG, Göttingen http://www.digibib.tu-bs.de/?docid=00053323 Digitale Bibliothek Braunschweig Dionysos von Homer bis heute. Eine Skizze Von Gregor Maurach*, Münster (Eingegangen am 13.02., in veränderter Form am 16. 10. 1993) Claudiae gratias referens, nam quid sine te? Einleitung § 1 Ausa) einer bloßen Liste von Dionysos-Darstellungen in der Kunst oder von Bac chus-Vorkommen in der Literatur wäre nichts zu lernen. Möglichst viele solcher Darstel lungen und Vorkommen sollen hier zwar genannt werden (obschon dem Verfasser auch nicht annähernd alle bekannt wurden), wichtiger war aber ein Leitgedanke, der sowohl etwas vom Wesen des Gottes selbst spüren ließ als auch von der Eigenart derer, die ihn dargestellt oder in ihren Werken haben vorkommen lassen, und dieser Leitgedanke war etwa dieser: § 2 Renaissance, Wiedergeburt der Antike - sie geschah mehrfachI), im neunten, im zwölften und besonders erregend im 15. Jahrhundert; aber immer, wenn sie geschah, da mals und späterhin wieder im 17. und 19. Jahrhundert, mußten ihre Wiedererwecker die Antike auch aushalten können. Damit ist gemeint, daß z. B. Göttergestalten in der Antike bei aller Menschenähnlichkeit nicht nur immer eine gewaltige Macht behielten, denen die späteren Darstellungen zu entsprechen hatten, sondern daß in ihnen eine Spannung von Gegensätzlichem (Henrichs, Loss 235 ff.; Versne1133) herrschte, welche die Späte• ren nur allzu leicht durch Vereinseitigung oder dadurch ins Harmlose abgleiten ließen, daß sie z. B. die Göttinnen lieblich, die Götter verliebt darstellten und so mit der Wen dung ins Intime die uralte Spannung von Furchtbarkeit und Huld aus den Augen verlo ren.