Innovative and Integrated Technologies for the Treatment of Industrial Wastewater deals with advanced technological solutions for the treatment of industrial wastewater such as aerobic granular biomass based systems, advanced oxidation processes integrated with biological treatments, membrane contactors and membrane chemical reactors. Wastewater from pharmaceutical, chemical and food industries as well as landfill leachates are specifically considered as representative of major problems encountered when treating industrial streams. The economic and environmental sustainability of the above solutions are also reported in the book and compared with the alternatives currently available in the market by life cycle assessment (LCA) and life cycle costing (LCC) methodologies. The implementation of the considered solutions at large scale could support and enhance the competitiveness of different industrial sectors, including the water technology sector, in the global market. Innovative and Integrated Technologies for the Treatment of Industrial Wastewater also makes a contribution towards defining: new concepts, processes and technologies in wastewater treatment with potential benefits for the stable quality of effluents, energy and operational costs saving, and the protection of the environment new sets of advanced standards for wastewater treatment new methodologies for the definition of wastewater treatment needs and framework conditions new information supporting development and implementation of water legislation.

Men, Women, and Ghosts (1916) is a poetry collection by Amy Lowell. Published at the beginning of her career as an influential imagist devoted to classical poetic themes and forms, Men, Women, and Ghosts is an agile and promising work from a pioneering poet of the early twentieth century. In “Patterns,” the collection’s opening poem, Lowell displays an economy of language and clarity of vision that would define the imagist school, in which she would prove an essential figure: “I walk down garden paths, / And all the daffodils / Are blowing, and the bright blue squills. / [...] / I too am a rare / Pattern. As I wander down / The garden paths.” As the speaker of the poem laments the loss of her lover, she remarks: “the man who should loose me is dead, / Fighting with the Duke in Flanders, / In a pattern called a war. / Christ! What are patterns for?” As a poet indebted to tradition and yet interested in the prospect of a modern poetry, as a lesbian and bohemian figure from a prominent Boston family, Lowell was keenly aware of the dangers inherent to “patterns.” Her poems, unique and experimental, are an essential contribution to one of humanity’s oldest art forms. Men, Women, and Ghosts is a vibrant collection from an emerging poet who would come to define the imagist movement throughout her storied career. With a beautifully designed cover and professionally typeset manuscript, this edition Amy Lowell’s Men, Women, and Ghosts is a classic work of American poetry reimagined for modern readers.

This groundbreaking book provides a balanced and organized discussion of the interactions of food science and biotechnology at the molecular and industrial levels. Carefully selected and reviewed contributions stress the aspects of modern bioprocessing, analysis, and quality control that are common to both food science and biotechnology. The detail

The Youngstown story often is told with a beginning in iron and steel and ending in decay with a subplot driven by violent mobsters and corrupt politicians. Aiming to provide a more well-rounded examination of Youngstown, this collection of essays provides an authentic look at the city through a diverse set of experiences from the perspectives of those who have lived there. Readers will gain a sense of the past, present, and future of the city.

A landmark retrospective on the Art Deco painter exploring her intersectional identities Tamara de Lempicka (1894-1980), the "Baroness with a Brush," is often cast as one of Art Deco's most celebrated artists, though her work transcends categorization, incorporating elements of Cubism and Neoclassicism in a distinctive, sensuous blend of form and function. Lempicka's paintings, including a self-portrait as the driver of a sleek green Bugatti, often depict dazzling, self-assured women, exuding elegance and transgressive sexuality while combining the modern with the classical. This gorgeous survey presents the full arc of Lempicka's career in the context of her life and her evolving identity, including her Polish and Russian origins, her marriages and other relationships, and her time in France, Italy, and the United States. This book unfolds chronologically through three sections that mark the stages of the artist's life and the evolution of her artistic style, with particular focus on her Jewish heritage, her expression of gender, and her sexuality. Published in association with the Fine Arts Museums of San Francisco Exhibition Schedule: de Young Museum, San Francisco (October 12, 2024-February 9, 2025) The Museum of Fine Arts, Houston (March 9-May 26, 2025)

Uncover the crazed and illustrious mind of the original symbiote anti-hero in this lavishly presented collection of Venom's most heroic, villainous, and somewhat killer moments from his comic book history. In this book, you'll get in to the mind - or minds - of Venom: eat, save, kill, repeat! Hero or villain? Psychotic or vulnerable? Does anything make sense to a ravenous symbiote from outer space?! Witness the fears, the loves, the scruples, and the pure hunger that drives the popular anti-hero with a look at his favourite moments, best friends, worst enemies, epic comic action, and awesome cover art! It's everything you need to know about your new-favourite anti-hero. Is that the sound of a sonic wave bursting from the page? No, it's the Philosophy of Venom!

From monumental battle paintings to the public display of archaeological spoils to the decoration of urban vistas, visual culture promoted modern French imperialism. So argues Todd Porterfield in this provocative look at the forces of art and politics in France's military conquest of the Near East. In challenging the conventional wisdom that France happened into imperial venture, Porterfield explores interactions among artists, generals, journalists, curators, and politicians from the time of Napoleon's Egyptian campaign to the invasion of Algeria during the Restoration and July Monarchy. Together they forged an official culture that provided a rationale for imperialism--based on images of France's moral and technological superiority--and an enduring project for Frenchmen of all political persuasions during an era of domestic instability. The allure of empire derived in part from its function as an alternative, surrogate, mask, and displacement of the Revolution. Porterfield reveals the interlocking strategies, the historical, scientific, moralistic, and gendered judgments, that imperial art conveyed in a strikingly rich variety of media: the obelisk at the Place de la Concorde, battle paintings of the Egyptian campaign, the first Egyptian Museum in the Louvre, and Delacroix's Women of Algiers. Not only do his analyses engage a wide range of urgent debates within cultural studies, but they also shed light on a troubling question. How in the age oflibert,, egalit,, and fraternit, was visual culture enlisted to fabricate a sense of national superiority that led to the subjugation of others?