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Ranging from Galileo's observations with the telescope to current ideas of the post-human and the human-animal boundary, the author's examination of key literary texts brings a fresh perspective to the paradoxes of utopian thinking since Plato. Quand la science explore les croyances. Numerous dimensions of the Gothic are still underexplored. With this in mind, The Gothic and the Everyday aims to draw attention to one facet of the Gothic in particular: the Gothic in relation to lived experience.

While the Gothic has been embodied in various cultural trends and behaviours, the broader idea of 'living Gothic', as a term encompassing histories, practices, and legacies, has yet to find a coherent definition and place. This book offers a clearly written, entertaining and comprehensive source of medical information for both writers and readers of science fiction. Science fiction in print, in movies and on television all too often presents dubious or simply incorrect depictions of human biology and medical issues.

This book explores the real science behind such topics as how our bodies adapt to being in space, the real-life feasibility of common plot elements such as suspended animation and medical nanotechnology, and future prospects for improving health, prolonging our lives, and enhancing our bodies through technology. Evie Kendal, 'Utopian Visions.

Visiting topics such as care work, sexuality, sport, and the military in these works, the book demonstrates that acknowledging a more fully embodied age is not only necessary for the individual subject, but will also enrich our understanding of other social categories, including gender and race. Science Fiction and Cultural Theory: A Reader is an essential resource for literature students studying science fiction, science and popular culture, and contemporary theory.

Examining the intersection of occult spirituality, text, and gender, this book provides a compelling analysis of the occult revival in literature from the s through the course of the twentieth century.


Bestselling novels such as The Da Vinci Code play with magic and the fascination of hidden knowledge, while occult and esoteric subjects have become very visible in literature during the twentieth century. This study analyses literature by women occultists such as Alice Bailey, Dion Fortune, and Starhawk, and revisits texts with occult motifs by canonical authors such as Sylvia Townsend Warner, Leonora Carrington, and Angela Carter.

This material, which has never been analysed in a literary context, covers influential movements such as Theosophy, Spiritualism, Golden Dawn, Wicca, and Goddess spirituality. Repetition and Replication: Unnatural Reproduction s Chapter 5. Dangerous Maternity and Monstrous Mothers Chapter 8. Woytonik Chapter 9. Innocence Lost: Monstrous Children Chapter This book illuminates the racialized nature of twenty-first century Western popular culture by exploring how discourses of race circulate in the Fantasy genre.

It examines not only major texts in the genre, but also the impact of franchises, industry, editorial and authorial practices, and fan engagements on race and representation. Approaching Fantasy as a significant element of popular culture, it visits the struggles over race, racism, and white privilege that are enacted within creative works across media and the communities which revolve around them. Arielle Saiber and Umberto Rossi.

Salvatore Proietti. Fantahistorical vs. The Weight of History:! Avant-propos de Tim Powers. Outlander is much more than a television romance about a World War II nurse and a Jacobite soldier in a fetching kilt. The series—and the massive serial novel on which it is based—has been categorized as a period drama, adventure saga, military history and fantasy epic. Inspired by the Irish legends of Fionn Mac Cumhaill and the prophecies of Brahan Seer, the storyline is filled with mythology and symbolism from around the world, from the Fair Folk and the Loch Ness monster to wendigos, ghosts, zombies and succubae.

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Introduction; James B. Preface by Richard Blair. Hoffmans, Berlin, Schmidt, , pages.

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Foreword by David C. Introduction de Antonella Fulci. Less well known—even to avid horror fans—are the many other memorable films based on literary works. APA Luscans, B. Chicago Luscans, Bernard. Parents: This work has no parents.

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Toggle navigation Carolina Digital Repository. Help Contact Us Login. You do not have access to any existing collections. The photographer can do much to improve the final result by modification of his lighting. The requirement of increased lighting for backgrounds has already been mentioned. The same principle also holds true for shadows. The principal light source must give fairly strong shadows to be convincing, that is, it must throw shadows with fairly well defined edges. Then in order that objects in this shadow may appear nearly as bright in the print as in the subject, it is necessary that the contrast of these shadows with respect to other illuminated areas be very greatly decreased by auxiliary illumination.

In the extreme case there is no principal light and no brightness constancy phenomenon. Sensitivity adjustments of the eye play a large part in vision. For purposes of descriptive discussion these adjustments may be considered as consisting of two types, those for brightness and those for chromaticity.

There is good evidence that this division also corresponds to an actual division of functions in the eye. The present article is intended as a brief review of the properties of the eye insofar as they depend on the energy distribution in the spectrum of the illuminant and the light from the objects in the field of view.

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It is therefore concerned with the adjustments of the eye for color. These are thought of as occurring independently of any simultaneous adjustment for brightness. The justification for the point of view taken comes largely from the recent work of Wright 7 and of Schouten.

It is felt that this new approach to the subject may, in itself, have some usefulness in the field of physiological optics aside from the application of its conclusions to the theory of color photography. One of the basic problems of color photography lies in the requirement that the reproduction must look sufficiently like the original subject under a wide variety of illuminants and illumination conditions.

The fact that such a requirement can be imposed and that to a first approximation it has been met by successful processes implies a visual phenomenon of a remarkable nature. The present approach is intended to illustrate the problems which it raises for color photography. For this purpose a combination of these two approaches based on the work of Wright and of Schouten gives a description which leads to concepts useful in predicting and explaining photographic effects.

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No attempt will be made to make the concepts quantitative beyond indicating the nature of the variables. It is unlikely, however, that a complete theory of color photography can be successful without such an eventual quantitative formulation. The sensitivity of the eye to light varies over a tremendous range, depending on the conditions under which it is used.

It increases in dim light and decreases in bright in such a way as to tend toward a constant effective response.

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  4. This process is known as brightness adaptation. Maximum sensitivity is obtained after long periods in total darkness. A similar, although less well-known, phenomenon occurs when the eye is exposed to colored light, the color sensitivity decreasing in such a way that the effectiveness of the light as color is lost in large measure.

    Marginalia 86

    This is known as color adaptation. The fundamental problem which must be solved before it is possible to lay down rules for color photography concerns the appearance of given color stimuli when the eye has undergone such an adaptation. If a photograph of a scene viewed and photographed by artificial light is to be viewed by either daylight or by artificial light, it is necessary not only that the photograph match the subject, point for point, for color, but also that if there should be any change in the appearance of the scene under the two conditions the photograph must undergo a similar change.

    It is also necessary that any mutual effects of adjacent areas be the same in the two cases and that they should change with the illuminant color in the same manner in the two cases. Obviously both the characteristics of the eye and those of the particular absorbing materials will play a part. If the eye is rested for some time in total darkness, any effect due to previous stimulation by light wears off and the eye attains not only its maximum sensitivity but also what may be called its natural sensitivity to color.

    For the eye in this rested state there exists a certain range of colors which, when presented without previous eye stimulation, are accepted as achromatic.