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Apart from his Personal Chair in English at the University of Melbourne, Peter Steele has been Visiting Professor at the Universities of Alberta, Georgetown, Washington and Loyola, Chicago. An esteemed Australian poet, he is intensely interested in the process whereby literary works are produced by contemplating masterpieces of painting or sculpture. Outstanding poets, from Homer to Auden, have followed this tradition. The fifty-two poems in this book have been inspired by artworks Peter Steele has admired during his world travels. The renowned Irish poet, Seamus Heaney, has written of Steele's book: 'It is a work of great drive, shine and abundance, at once liberated and intense, a combination of intellectual rigour and imaginative spree. It deepens and widens the course of Peter Steele's own poetry, and since it presents the pictures that inspired the poems, it will invite readers to a new and complex experience.'
The Whispering Gallery: Being Leaves from the Diary of an Ex-Diplomat, which first appeared anonymously in 1926, takes the form of a portrait gallery, consisting of brief biographical sketches of public figures. Three chapters treat single individuals: Lord Northcliffe (‘The Napoleon of Fleet Street’), Lord Leverhulme (‘The Soap King’), and Edward VII (‘The Peacemaker’). The other chapters mostly group several subjects by profession: the ‘Warriors’ include Lord Kitchener, Lord Roberts, John French, and Marshal Joffre; the chapter on ‘Empire-Builders’ juxtaposes Cecil Rhodes with Joseph Chamberlain; the ‘Three Caesars’ are the Kaiser, the Tsar and Franz Josef; the ‘Two Despots’ are Mussolini and Lenin; the ‘Scribblers’ include H. G. Wells, Bernard Shaw, Thomas Hardy, Henry James, Rudyard Kipling and Mark Twain. “To move in high social or diplomatic circles is to live in a whispering-gallery. No secret can be breathed without the startling reverberation of rumor from an unexpected quarter. The secrets I breathe afresh in these pages the reader may have heard in the echo of hearsay, an echo which distorts the words that were actually spoken and alters the very character of the speakers themselves.”
The poems here delve into what William Logan calls the “ill-lit kingdom of the past.” The book is haunted by the dead but equally penitent toward the rich insinuations of the living: the lost floral paradise of the Florida outlands, the steamy Gatsby summers of a Long Island childhood, the frozen stones of a colonial burying ground. This new collection of seventy-two poems will allow readers to delight in the richness of Logan’s language and the boldness of his vision.
This interdisciplinary book covers the fundamentals of optical whispering gallery mode (WGM) microcavities, light–matter interaction, and biomolecular structure with a focus on applications in biosensing. Novel biosensors based on the hybridization of WGM microcavities and localized surface plasmon resonances (LSPRs) in metal nanoparticles have emerged as the most sensitive microsystem biodetection technology that boasts single molecule detection capability without the need for amplification and labeling of the analyte. The book provides an ample survey of the physical mechanisms of WGMs and LSPRs for detecting affinity, concentration, size, shape and orientation of biomarkers, while informing the reader about different classes of biomolecules, their optical properties and their importance in label-free clinical diagnostics. For the more advanced reader, advanced applications of WGMs and LSPRs in exploring the fundamental nature of quantum physics are discussed.
"Eerie and addictive. . . . Like Wuthering Heights, The Whispering House is a melancholy novel, its characters filled with dark longings." — The New York Times Book Review From the acclaimed author of The Orphan of Salt Winds It was like holding a couple of jigsaw pieces in my palm, knowing there was a whole picture to be made, if I could only find the rest. Freya Lyell is struggling to move on from her sister Stella’s death five years ago. Visiting the bewitching Byrne Hall, only a few miles from the scene of the tragedy, she discovers a portrait of Stella—a portrait she had no idea existed, in a house Stella never set foot in. Or so she thought. Driven to find out more about her sister’s secrets, Freya is drawn into the world of Byrne Hall and its owners: charismatic artist Cory and his sinister, watchful mother. But as Freya lingers in this mysterious, centuries-old house, her relationship with Cory crosses the line into obsession and the darkness behind the locked doors of the estate threatens to spill out. In prose as lush and atmospheric as Byrne Hall itself, Elizabeth Brooks weaves a simmering, propulsive tale of art, sisterhood, and all-consuming love: the ways it can lead us toward tenderness, nostalgia, and longing, as well as shocking acts of violence.
Aggie May, newly and unhappily retired from teaching, fears dementia when she begins to see visions from the past, like a 1950s-era Super Constellation at JFK airport and World War II soldiers at Grand Central Terminal. Then she gets a recruitment visit from Abe Irving of the American Association of Remarkable Persons ("the other AARP") who explains she has developed the ability to travel through time. Soon Aggie joins other "Remarkables" on a mission to nineteenth-century New York City in an effort to locate a missing photographic portrait of Abraham Lincoln created by the Civil War photographer Mathew Brady. While learning the rules and limits of time travel, Aggie faces the possibility that she may have both extraordinary power and extraordinary vulnerability. Aggie and Abe, two stubborn and independent people, must struggle to come to an understanding over how and when to take risks, including emotional risks.
In this captivating novel, New York Times bestselling author Fiona Davis takes readers into the glamorous lost art school within Grand Central Terminal, where two very different women, fifty years apart, strive to make their mark on a world set against them. For most New Yorkers, Grand Central Terminal is a crown jewel, a masterpiece of design. But for Clara Darden and Virginia Clay, it represents something quite different. For Clara, the terminal is the stepping stone to her future. It is 1928, and Clara is teaching at the lauded Grand Central School of Art. Though not even the prestige of the school can override the public's disdain for a "woman artist," fiery Clara is single-minded in her quest to achieve every creative success—even while juggling the affections of two very different men. But she and her bohemian friends have no idea that they'll soon be blindsided by the looming Great Depression...and that even poverty and hunger will do little to prepare Clara for the greater tragedy yet to come. By 1974, the terminal has declined almost as sharply as Virginia Clay's life. Dilapidated and dangerous, Grand Central is at the center of a fierce lawsuit: Is the once-grand building a landmark to be preserved, or a cancer to be demolished? For Virginia, it is simply her last resort. Recently divorced, she has just accepted a job in the information booth in order to support herself and her college-age daughter, Ruby. But when Virginia stumbles upon an abandoned art school within the terminal and discovers a striking watercolor, her eyes are opened to the elegance beneath the decay. She embarks on a quest to find the artist of the unsigned masterpiece—an impassioned chase that draws Virginia not only into the battle to save Grand Central but deep into the mystery of Clara Darden, the famed 1920s illustrator who disappeared from history in 1931.
This thesis presents experimental research on the interaction between the optical field and the mechanical oscillator in whispering-gallery mode microcavities. It demonstrates how optomechanical interactions in a microresonator can be used to achieve non-magnetic non-reciprocity and develop all-optically controlled non-reciprocal multifunctional photonic devices. The thesis also discusses the interaction between the travelling optical and mechanical whispering-gallery modes, paving the way for non-reciprocal light storage as a coherent, circulating acoustic wave with a lifetime of up to tens of microseconds. Lastly, the thesis presents a high-frequency phase-sensitive heterodyne vibrometer, operating up to 10 GHz, which can be used for the high-resolution, non-invasive mapping of the vibration patterns of acoustic devices. The results presented here show that optomechanical devices hold great potential in the field of information processing.
It might have been about eleven o'clock when he awoke. He was so surprised at awaking without, apparently, being called or struck, that on second thoughts he assumed that somebody must have called him in spite of appearances, and looked out of the hut window towards the sheep. They all lay as quiet as when he had visited them, very little bleating being audible, and no human soul disturbing the scene. He next looked from the opposite window, and here the case was different. The frost-facets glistened under the moon as before; an occasional furze bush showed as a dark spot on the same; and in the foreground stood the ghostly form of the trilithon. But in front of the trilithon stood a man.
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