Lights and shadows of Asiatic history:

Added t.-p., engr.

Lights and shadows of European history:

Added t.p., illustrated.

A text book of geometrical drawing, for the use of mechanics and schools, in which the definitions and rules of geometry are familiarly explained ... : with illustrations for drawing plans, sections and elevations of buildings and machinery ... a course of linear perspective and shadows : an essay on the theory of color, in its application to architectural and mechanical drawings : the whole illustrated with fifty-six steel plates /

Added t.-p., illus.

Lights and shadows of London life /

Publisher's advertisement: 2 p. (at end of v. 2 ).

Lights and shadows of army life : as seen by a private soldier /

Mode of access: Internet.

Lights and Shadows.

Mode of access: Internet.

Mechanical drawing ...

pt. 1. Use of instruments, lettering, geometrical problems and projections. -- pt. 2. Problems in descriptive geometry, shades and shadows, and perspective. -- pt. 3. Working drawings.

Cyclopedia of drawing.

-[pt. I] Mechanical drawing, by E. Kenison. Shades and shadows, by H. W. Gardner. Perspective drawing, by W. H. Lawrence. Freehand drawing, by H.E. Everett. Pen and ink rendering, by D. A. Gregg. Rendering in wash, by H. V. von Holst. Architectural lettering, by F. C. Brown.- [pt. 2] - Mechanical drawing, by E. Kenison. Working drawings, machine design, by C. L. Griffin. Sheet metal pattern drafting, tinsmithing, practical problems in mensuration, by W. Neubecker.

Vier Paradoxa

Mode of access: Internet.

Traité de la science du dessin; contenant la théorie générale des ombres, la perspective linéaire, la théorie générale des images d'optique, et la perspective aérienne appliquée au lavis: pour faire suite à la Géométrie descriptive.

Title-page of atlas engraved; diagrams engraved by Jean Adam.

Compendium of drawing ...

[pt.I] Mechanical drawing, by E. Kenison. Shades and shadows, by H. W. Gardner. Perspective drawing, by W. H. Lawrence. Pen and ink rendering, by D. A. Gregg. Architectural lettering, by F. C. Brown.-- pt.II Working drawings, by C. L. Griffin. Mechanism [by] W. H. James. Machine design, by C. L. Griffin. Sheet metal pattern drafting, tin-smithing, by W. Neubecker.

Determining individual tree shade length : a guide for silviculturists /

"September 1995."

On Not Reading Fifty Shades:Feminism and the Fantasy of Romantic Immunity

This paper explores the politics of feminist criticism of the Fifty Shades novels as seen in both traditional media commentary and popular online news and cultural websites and blogs. I argue that much media commentary, in broadsheet and other ‘respectable’ outlets particularly, has featured avowedly feminist writers dismissing the books as ‘bad’, not only containing bad writing and bad sex but, ultimately, as being bad for their women readers. Situating these responses within a history of feminist discomfort with popular erotic and romantic fiction marketed to women I read these responses as a form of ‘anti-romantic’ fantasy in which the reader/critic is able to assert both her immunity from the romantic fantasy offered in the text and her cultural distance from those women who are subject to it. Further, this act of disavowal is often linked to a professed concern for the women who read the novel who the critic argues will, inevitably, replicate the abusive and harmful relationship dynamics that the novel represent. Such a move then positions the feminist critic as not only more culturally intelligent than women readers of the novel but enacts a fantasy of respectable, middle-class feminist cultural custodianship. Such a fantasy, I argue, is connected to the post-feminist era in which we live, which has produced a class of self-appointed ‘feminist’ cultural critics who seek to contest their own cultural marginalisation through enacting a governmental authority to worry about other women. This paper, therefore, is a critical investigation of the pleasures and politics of very publicly not reading Fifty Shades and its significance for analysing the contemporary politics of popular culture and feminism.

Towards a complete dense geometric and photometric reconstruction under varying pose and illumination

This paper proposes a novel framework to construct a geometric and photometric model of a viewed object that can be used for visualisation in arbitrary pose and illumination. The method is solely based on images and does not require any specialised equipment. We assume that the object has a piece-wise smooth surface and that its reflectance can be modelled using a parametric bidirectional reflectance distribution function. Without assuming any prior knowledge on the object, geometry and reflectance have to be estimated simultaneously and occlusion and shadows have to be treated consistently. We exploit the geometric and photometric consistency using the fact that surface orientation and reflectance are local invariants. In a first implementation, we demonstrate the method using a Lambertian object placed on a turn-table and illuminated by a number of unknown point light-sources. A discrete voxel model is initialised to the visual hull and voxels identified as inconsistent with the invariants are removed iteratively. The resulting model is used to render images in novel pose and illumination. © 2004 Elsevier B.V. All rights reserved.

Reticent autobiography: Henry Green and Christopher Isherwood at the Hogarth Press

Christopher Isherwood’s Lions and Shadows (1938) and Henry Green’s Pack My Bag (1940) are accounts of the authors’ educations in the 1920s. Published by Leonard and Virginia Woolf’s Hogarth Press, these works use reticent narrators to test the limits of autobiography. In each case, authorial self-presentation complicates the work’s classification in the literary marketplace: Green paradoxically extends his use of a pseudonym to autobiography and Isherwood assigns his own name to his purportedly fictional protagonist, and yet Hogarth published both as novels. The two texts and their publication histories exemplify modernist autobiography’s blurring of the lines between fiction and personal history.