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This proceedings contains the papers presented at The 8th International Symposium on Practical Design of Ships and Other Floating Structures held in China in September 2001 - the first PRADS of the 21st Century. The overall aim of PRADS symposia is to advance the design of ships and other floating structures as a professional discipline and science by exchanging knowledge and promoting discussion of relevant topics in the fields of naval architecture and marine and offshore engineering. In line with the aim, in welcoming the new era, this Symposium is intended to increase international co-operation and give a momentum for the new development of design and production technology of ships and other floating structures for efficiency, economy, safety, and environmental production. The main themes of this Symposium are Design Synthesis, Production, Hydrodynamics, Structures and Materials of Ships and Floating Systems. Proposals for over 270 papers from 26 countries and regions within the themes were received for PRADS 2001, and about 170 papers were accepted for presentation at the symposium. With the high quality of the proposed papers the Local Organising Committee had a difficult task to make a balanced selection and to control the total number of papers for fitting into the allocated time schedule approved by the Standing Committee of PRADS. Volume I covers design synthesis, production and part of hydrodynamics. Volume II contains the rest of hydrodynamics, and structures and materials.
Reprint of the original, first published in 1881.
This collection of fifteen papers ranges from the author's initial interest in the Tapestry as a source of information on early medieval dress, through to her startling recognition of the embroidery's sophisticated narrative structure. Developing the work of previous authors who had identified graphic models for some of the images, she argues that not just the images themselves but the contexts from which they were drawn should be taken in to account in 'reading' the messages of the Tapestry. In further investigating the minds and hands behind this, the largest non-architectural artefact surviving from the Middle Ages, she ranges over the seams, the embroidery stitches, the language and artistry of the inscription, the potential significance of borders and the gestures of the figures in the main register, always scrutinising detail informatively. She identifies an over-riding conception and house style in the Tapestry, but also sees different hands at work in both needlecraft and graphics. Most intriguingly, she recognises an sub-contractor with a Roman source and a clownish wit. The author is Professor of Anglo-Saxon Culture at The University of Manchester, UK, a specialist in Old English poetry, Anglo-Saxon material culture and medieval dress and textiles.
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