Provides a multimodal analysis of women's sand stories from Central Australia, showing how speech, sign, gesture and drawing work together.

An examination of preparatory layers of oil paintings in North West Europe using historical research and modern reconstruction0.

Hydrology covers the fundamentals of hydrology and hydrogeology, taking an environmental slant dictated by the emphasis in recent times for the remediation of contaminated aquifers and surface-water bodies as well as a demand for new designs that impose the least negative impact on the natural environment. Major topics covered include hydrological principles, groundwater flow, groundwater contamination and clean-up, groundwater applications to civil engineering, well hydraulics, and surface water. Additional topics addressed include flood analysis, flood control, and both ground-water and surface-water applications to civil engineering design.

In hard-hitting accounts of Auschwitz, Bosnia, Palestine, and Hiroshima’s Ground Zero, comics display a stunning capacity to bear witness to trauma. Investigating how hand-drawn comics has come of age as a serious medium for engaging history, Disaster Drawn explores the ways graphic narratives by diverse artists, including Jacques Callot, Francisco Goya, Keiji Nakazawa, Art Spiegelman, and Joe Sacco, document the disasters of war. Hillary L. Chute traces how comics inherited graphic print traditions and innovations from the seventeenth century and later, pointing out that at every turn new forms of visual-verbal representation have arisen in response to the turmoil of war. Modern nonfiction comics emerged from the shattering experience of World War II, developing in the 1970s with Art Spiegelman’s first “Maus” story about his immigrant family’s survival of Nazi death camps and with Hiroshima survivor Keiji Nakazawa’s inaugural work of “atomic bomb manga,” the comic book Ore Wa Mita (“I Saw It”)—a title that alludes to Goya’s famous Disasters of War etchings. Chute explains how the form of comics—its collection of frames—lends itself to historical narrative. By interlacing multiple temporalities over the space of the page or panel, comics can place pressure on conventional notions of causality. Aggregating and accumulating frames of information, comics calls attention to itself as evidence. Disaster Drawn demonstrates why, even in the era of photography and film, people understand hand-drawn images to be among the most powerful forms of historical witness.

The second edition of Engineering Drawing continues to cover all the fundamental topics of the field. This edition includes a new chapter on scales, the latest version of AutoCAD, and new pedagogy. Combining technical accuracy with readable explana