"Virgil Made English" traces Virgil's fate from the Interregnum through mid-eighteenth-century England and beyond by examining translations, imitations, adaptations, and discussions of the poet and some of his fellow Ancients. Along the way, it examines English and French neoclassical theorists, demonstrating the unacknowledged gap between theory and practice in this period. The central argument here concerns the decline in influence and authority of Virgil and the Ancients in this "neoclassical" period. The study also shows how literary features and notions about literature's historical and social function that are associated with the eighteenth century can be traced back through mid-seventeenth century rejection of classical precepts and examples.

The rapid growth of new media technologies is radically changing film production and consumption. New technologies such as DVDs, MP3s and the Internet have freed the audience from traditional ways of relating to what used to be termed "mass media". In the face of such seismic shifts, the theoretical and pedagogical structures of film and television studies are being shaken to their core. New Media responds to these revolutionary developments, bringing together authors including Constance Penley and Henry Jenkins to address topics such as computer games, digital animation techniques, media convergence, and internet audiences.

"Behind-the-scenes" stories of ranting directors, stingy producers, temperamental actors, and the like have fascinated us since the beginnings of film and television. Today, magazines, websites, television programs, and DVDs are devoted to telling tales of trade lore from on-set antics to labor disputes. The production of media has become as storied and mythologized as the content of the films and TV shows themselves.

Production Studies is the first volume to bring together a star-studded cast of interdisciplinary media scholars to examine the unique cultural practices of media production. The all-new essays collected here combine ethnographic, sociological, critical, material, and political-economic methods to explore a wide range of topics, from contemporary industrial trends such as new media and niche markets to gender and workplace hierarchies. Together, the contributors seek to understand how the entire span of "media producers" ranging from high-profile producers and directors to anonymous stagehands and costume designers work through professional organizations and informal networks to form communities of shared practices, languages, and cultural understandings of the world.

This landmark collection connects the cultural activities of media producers to our broader understanding of media practices and texts, establishing an innovative and agenda-setting approach to media industry scholarship for the twenty-first century.

Contributors: Miranda J. Banks, John T. Caldwell, Christine Cornea, Laura Grindstaff, Felicia D. Henderson, Erin Hill, Jane Landman, Elana Levine, Amanda D. Lotz, Paul Malcolm, Denise Mann, Vicki Mayer, Candace Moore, Oli Mould, Sherry B. Ortner, Matt Stahl, John L. Sullivan, Serra Tinic, Stephen Zafirau

"Behind-the-scenes" stories of ranting directors, stingy producers, temperamental actors, and the like have fascinated us since the beginnings of film and television. Today, magazines, websites, television programs, and DVDs are devoted to telling tales of trade lore?from on-set antics to labor disputes. The production of media has become as storied and mythologized as the content of the films and TV shows themselves.

Production Studies is the first volume to bring together a star-studded cast of interdisciplinary media scholars to examine the unique cultural practices of media production. The all-new essays collected here combine ethnographic, sociological, critical, material, and political-economic methods to explore a wide range of topics, from contemporary industrial trends such as new media and niche markets to gender and workplace hierarchies. Together, the contributors seek to understand how the entire span of "media producers"?ranging from high-profile producers and directors to anonymous stagehands and costume designers?work through professional organizations and informal networks to form communities of shared practices, languages, and cultural understandings of the world.

This landmark collection connects the cultural activities of media producers to our broader understanding of media practices and texts, establishing an innovative and agenda-setting approach to media industry scholarship for the twenty-first century.

Contributors: Miranda J. Banks, John T. Caldwell, Christine Cornea, Laura Grindstaff, Felicia D. Henderson, Erin Hill, Jane Landman, Elana Levine, Amanda D. Lotz, Paul Malcolm, Denise Mann, Vicki Mayer, Candace Moore, Oli Mould, Sherry B. Ortner, Matt Stahl, John L. Sullivan, Serra Tinic, Stephen Zafirau

The rapid growth of new media technologies is radically changing film production and consumption. New technologies such as DVDs, MP3s and the Internet have freed the audience from traditional ways of relating to what used to be termed "mass media". In the face of such seismic shifts, the theoretical and pedagogical structures of film and television studies are being shaken to their core. New Media responds to these revolutionary developments, bringing together authors including Constance Penley and Henry Jenkins to address topics such as computer games, digital animation techniques, media convergence, and internet audiences.

This study traces the steady decline of classical authority in English literature from the mid-seventeenth century and the role of translation in shifting the emphasis away the classical learning. The author focuses on Virgil, once the most revered of poets but also explores the fate of some of his fellow Ancients.

This research characterizes forward looking radar performance while noting differences with traditionally examined side looking radar. The target detection problem for forward looking radar is extremely difficult due to the severe, heterogeneous, and range dependent ground clutter. Consequently, forward looking radar detection represents an important but overlooked topic because of the increased difficulty compared to side looking radar. This void must be filled since most fighter aircraft use forward looking radar, making this topic intensely interesting to the Air Force. After characterizing forward looking radar performance, basic radar concepts along with advanced adaptive interference suppression techniques improve the output Signal-to-Interference-plus-Noise Ratio (SINR) and target detection rates using fixed false alarm for linear arrays. However, target detection probabilities and output SINR do not improve enough. Although the methods considered are adaptive in azimuth and Doppler, effective range ambiguous clutter mitigation requires elevation adaptivity, a feature not offered by linear arrays. The research continues by examining planar arrays. Elevation adaptivity combined with azimuth and Doppler adaptivity allows suppressing range ambiguous clutter and significantly increasing output SINR, detection probability, and max-imum detection range. Specifically, three-dimensional Space-Time Adaptive Processing (3DSTAP) techniques with adaptivity in elevation, azimuth, and Doppler achieve detection probability improvements of over 10 dB in required input SINR compared to two-dimensional (2D) STAP processing. Additionally, 3D STAP improves detection probability versus input SINR curves over 30 dB when compared to 2D conventional processing techniques. As a result, forward looking radars using 3D STAP have the capacity to detect targets that conventional processing might miss.