Traditionally, texts and images have been discussed together on the assumption that they are 'sister arts, ' but in Reading Iconotexts Peter Wagner pushes beyond the world-image opposition in a radical attempt to break down the barriers between literature and art. He sets out here the new approach he has identified for dealing with the 'iconotext'--a genre in which neither image nor text is free from the other. Examples include Swift's Gulliver's Travels, a number of William Hogarth's best-known engravings, and a sample of the so-called 'obscene' propaganda prints that were published during the French Revolution. Throughout, the author argues for the importance of seeing text and image as mutually interdependent in the ways they establish meaning. It becomes clear in the course of Wagner's exposition that one cannot study prints without taking into account their accompanying inscriptions; whilst illustrated books contain two kinds of 'text'--one verbal, one visual--that are invariably at odds with one another. Drawing on theories of intertextuality and semiotics as developed by Barthes and Kristeva, as well as post-structuralist studies by Derrida, Foucault and others, Reading Iconotexts treats pictures as encoded visual discourse and illustrations in books as counter-discourse. The author's persuasively argued polemic in favour of recognising the 'iconotext' as a viable advance in methodology is an important contribution to current debates on word and image.
An internal characterization is given of those subdirect products which are structures of global sections of discrete sheaves. Such subdirect products are called global. Patching of subdirect products over a dual ring of subsets of the index set is defined, and a uniform method of constructing global subdirect products from the patching property is developed. The role of the hull-kernel topology in sheaf constructions is analyzed in the setting of universal algebra. Global subdirect products which come from Hausdorff sheaves over Boolean spaces (Boolean subdirect products) are treated in terms of the normal transform. Global representation of varieties is defined and investigated. Finally, applications to the sheaf representation of rings and lattice ordered rings are a given.
In many branches of chemistry, Molecular Modeling is a well-established and powerful tool for the investigation of complex structures. The second completely revised and enlarged edition of this highly recognized book shows how this method can be successfully applied to inorganic and coordination compounds. The first part of the book gives a general introduction to Molecular Modeling, which will be of use for chemists in all areas. The second part discusses numerous carefully selected examples, chosen to illustrate the wide range of applicability of molecular modeling to metal complexes and the approaches being taken to dealing with some of the difficulties involved. While the general outline is similar to that of the first edition, many of the examples chosen for discussion reflect the changes of the past five years. In the third part, the reader learns how to apply Molecular Modeling to a new system and how to interpret the results. The accompanying software features 20 tutorial lessons based on examples from the literature and the book itself. The authors take special care to highlight possible pitfalls and offer advice on how to avoid them. Therefore, this book will be invaluable to everyone working in or entering the field.
As an artistic medium, photography is uniquely subject to accidents, or disruptions, that can occur in the making of an artwork. Though rarely considered seriously, those accidents can offer fascinating insights about the nature of the medium and how it works. With Inadvertent Images, Peter Geimer explores all kinds of photographic irritation from throughout the history of the medium, as well as accidental images that occur through photo-like means, such as the image of Christ on the Shroud of Turin, brought into high resolution through photography. Geimer’s investigations complement the history of photographic images by cataloging a corresponding history of their symptoms, their precarious visibility, and the disruptions threatened by image noise. Interwoven with the familiar history of photography is a secret history of photographic artifacts, spots, and hazes that historians have typically dismissed as “spurious phenomena,” “parasites,” or “enemies of the photographer.” With such photographs, it is virtually impossible to tell where a “picture” has been disrupted—where the representation ends and the image noise begins. We must, Geimer argues, seek to keep both in sight: the technical making and the necessary unpredictability of what is made, the intentional and the accidental aspects, representation and its potential disruption.
Advances in Imaging and Electron Physics merges two long-running serials-Advances in Electronics and Electron Physics and Advances in Optical and Electron Microscopy. This series features extended articles on the physics of electron devices (especially semiconductor devices), particle optics at high and low energies, microlithography, image science and digital image processing, electromagnetic wave propagation, electron microscopy, and the computing methods used in all these domains.
Peter Cornwell tells the story of the greatest air battle of the Second World War when six nations were locked in combat over north-western Europe for a traumatic six weeks in 1940. He describes the day-to-day events as the battle unfolds, and details the losses suffered by all six nations involved: Britain, France, Holland, Belgium, Germany and, rather belatedly, Italy. As far as RAF fighter squadrons in France were concerned, it was an all-Hurricane show, yet it was the Blenheim and Battle crews who suffered the brunt of the casualties. Every aircraft lost or damaged through enemy action while operating in France is listed together with the fate of the crews. The RAF lost more than a thousand aircraft of all types over the Western Front during the six-week battle, the French Air Force 1,400, but Luftwaffe losses were even higher at over 1,800 aircraft.
Discourse and Power: An Introduction to Critical Narratology: Who Narrates Whom? is both an introduction to discourse research and an application of the concept of discourse to the problem of power. Divided into two sections, Part One is a presentation of the most important theories of discourse in which the link between discourse and power or language and power is central. It provides a critical overview of the most important discourse theories: Foucault, Bourdieu, Fairclough and Greimas’s structural semiotics. In Part Two, the section on practice, the insights gained in the first part of the book are applied to analyses of particular discourses and their involvement in power relations. Ranging from psychiatric, legal, political, literary and scientific discourses, examples include the presidential speeches of Obama, Trump and Biden and the novels of Camus and Pirandello. The book demonstrates that it is possible in theoretical discourse to reduce the power factor to a minimum, improve theoretical innovation, and thus pave the way for new insights in social sciences. This is an important and timely text from a leading scholar, suitable for use in discourse analysis, critical discourse analysis and rhetoric courses.
This issue of Radiologic Clinics of North America focuses on CT Angiography. Articles will include: CT Angiography – A Review and Technical Update; CT Angiography of Thoracic Aorta; CT Angiography of Abdominal Aorta; CT Angiography of the Liver, Spleen, and Pancreas; CT Angiography of the Bowel and Mesentery; CT Angiography of the Renal Circulation; CT Angiography of the Lower Extremities; CT Angiography of the Upper Extremities; Pediatric Considerations in CT Angiography; CT Angiography of the Neurovascular Circulation; Role of MRA in the Era of Modern CT Angiography; CT Angiography for Preoperative Thoracoabdominal Flap Planning; and more!
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