Images Shadows
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Images and Shadows
The lucidly written memoir of Iris Origo, the writer of the bestselling War in Val d'Orcia It has only been through my affections that I have been able to perceive, however imperfectly, some faint "intimations of immortality" Images and Shadows is the story of those affections: for a loving, shy father, who died when his daughter was very young; for a vital, headstrong mother; for friends and family, alive and dead. And for the places Origo lived: Ireland, America, England; the childhood home in the hills above Florence; and her own beloved La Foce - the desolate, deforested estate which she and her Italian husband bought, and into which they poured the energy and patience of their best years. Iris Origo (1902-1988) is best known as a biographer and war diarist. But in Images and Shadows she writes with characteristic grace, wit and humility, almost reluctantly, about herself. Reissued with newly discovered photographs, it is both a moving insight into a lost age, and an illumination of the life and loves of an endlessly curious and thoughtful woman. Iris Origo (1902-1988) was a British-born biographer and writer. She lived in Italy and devoted much of her life to the improvement of the Tuscan estate at La Foce, which she purchased with her husband in the 1920s. During the Second World War, she sheltered refugee children and assisted many escaped Allied prisoners of war and partisans in defiance of Italy's fascist regime and Nazi occupation forces. Pushkin Press also publishes her bestselling war diary, War in Val d'Orcia, as well as two of her biographies, A Study in Solitude: The Life of Leopardi - Poet, Romantic and Radical and The Last Attachment: The Story of Byron and Teresa Guiccioli.
Shadows and Images
This is the story of a Protestant young woman and her journey to the Roman Catholic Church. The fascinating novel is set in nineteenth-century England-a time when Catholicism was regarded with suspicion and prejudice against Catholics was commonplace. Leaving her sheltered life in the countryside, young Clem becomes acquainted with the fascinating ideas and people of Oxford-including a brilliant young clergyman, John Henry Newman. But when her relationship to a Roman Catholic man with a colorful reputation leads to an Italian elopement that is more innocent than it appears, the scandal drives a wedge between Clem and the upright Anglican circle of friends and family she left behind. Woven into the story of Clem and Augustine, their courtship and marriage, and Clem's conversion, is the vital, influential, and holy Newman, as seen through the eyes of friends. Meriol Trevor's engaging plot charts the ongoing friendship between Newman and the couple as it spans many years during which pivotal historical influences, such as the Industrial Revolution and the Oxford Movement, are shaping Victorian England. Many important events, personages, and ideas in the life of Newman appear in the story-his reasons for becoming a Roman Catholic, his differences with Cardinal Manning, his work in the Birmingham Oratory, and his being made a cardinal by Pope Leo XIII. The author, a renowned biographer of Newman, used Newman's actual correspondence as the basis for his parts in the dialogue.
The Visual World of Shadows
How the perception of shadows, studied by vision scientists and visual artists, reveals the inner workings of the visual system. In The Visual World of Shadows, Roberto Casati and Patrick Cavanagh examine how the perception of shadows, as studied by vision scientists and visual artists, reveals the inner workings of the visual system. Shadows are at once a massive problem for vision—which must distinguish them from objects or material features of objects—and a resource, signaling the presence, location, shape, and size of objects. Casati and Cavanagh draw up an inventory of information retrievable from shadows, showing their amazing variety. They present an overview of the visual system, distinguishing between measurement and inference. They discuss the shadow mission, the work done by the visual brain to parse, and perhaps discard, the information from shadows; shadow ownership, the association of a shadow with the object that casts it; shadow labeling, the visual system's ability to tell shadows from nonshadows; and the shadow concept, our knowledge about shadows as a category. Casati and Cavanagh then apply the theoretical apparatus they have developed for shadows to other phenomena: illumination, reflection, and transparency. Finally, they examine the art of the shadow, paying tribute to artists' exploration of shadow, analyzing a series of artworks (reproduced in color) from a rich and fascinating art historical corpus.