The Scientific Papers Of William Parsons

Most of the papers deal with the telescope and nebulae.

This is a revealing account of the family life and achievements of the Third Earl of Rosse, a hereditary peer and resident landlord at Birr Castle, County Offaly, in nineteenth-century Ireland, before, during and after the devastating famine of the 1840s. He was a remarkable engineer, who built enormous telescopes in the cloudy middle of Ireland. The book gives details, in an attractive non-technical style which requires no previous scientific knowledge, of his engineering initiatives and the astronomical results, but also reveals much more about the man and his contributions – locally in the town and county around Birr, in political and other functions in an Ireland administered by the Protestant Ascendancy, in the development and activities of the Royal Society, of which he was President from 1848–54, and the British Association for the Advancement of Science. The Countess of Rosse, who receives full acknowledgement in the book, was a woman of many talents, among which was her pioneering work in photography, and the book includes reproductions of her artistic exposures, and many other attractive illustrations.

A thought provoking study of the powerful impact of images in guiding astronomers' understanding of galaxies through time.

A comprehensive biographical guide to the scientific achievements, personal lives, and struggles of women scientists from around the globe. International Women in Science: A Bibliographical Dictionary to 1950 presents the enormous contributions of women outside North America in fields ranging from aviation to computer science to zoology. It provides fascinating profiles of nearly 400 women scientists, both renowned figures like Florence Nightingale and Marie Curie and women we should know better, like Rosalind Franklin, who, along with James Watson and Francis Crick, uncovered the structure of DNA. Students and researchers will see how the lives of these remarkable women unfolded, and how they made their place in fields often stubbornly guarded by men, overcoming everything from limited education and professional opportunities, to indifference, ridicule, and cultural prejudice, to outright hostility and discrimination. Included are a number of living scientists, many of whom provide insights into their lives and scientific times. Those contributions, plus additional previously unavailable material, make this a volume of unprecedented scope and richness.

Isobel Armstrong's startlingly original and beautifully illustrated book tells the stories that spring from the mass-production of glass in nineteenth-century England. Moving across technology, industry, local history, architecture, literature, print culture, the visual arts, optics, and philosophy, it will transform our understanding of the Victorian period. The mass production of glass in the nineteenth century transformed an ancient material into a modern one, at the same time transforming the environment and the nineteenth-century imagination. It created a new glass culture hitherto inconceivable. Glass culture constituted Victorian modernity. It was made from infinite variations of the prefabricated glass panel, and the lens. The mirror and the window became its formative elements, both the texts and constituents of glass culture. The glassworlds of the century are heterogeneous. They manifest themselves in the technologies of the factory furnace, in the myths of Cinderella and her glass slipper circulated in print media, in the ideologies of the conservatory as building type, in the fantasia of the shopfront, in the production of chandeliers, in the Crystal Palace, and the lens-made images of the magic lantern and microscope. But they were nevertheless governed by two inescapable conditions. First, to look through glass was to look through the residues of the breath of an unknown artisan, because glass was mass produced by incorporating glassblowing into the division of labour. Second, literally a new medium, glass brought the ambiguity of transparency and the problems of mediation into the everyday. It intervened between seer and seen, incorporating a modern philosophical problem into bodily experience. Thus for poets and novelists glass took on material and ontological, political, and aesthetic meanings. Reading glass forwards into Bauhaus modernism, Walter Benjamin overlooked an early phase of glass culture where the languages of glass are different. The book charts this phase in three parts. Factory archives, trade union records, and periodicals document the individual manufacturers and artisans who founded glass culture, the industrial tourists who described it, and the systematic politics of window-breaking. Part Two, culminating in glass under glass at the Crystal Palace, reads the glassing of the environment, including the mirror, the window, and controversy round the conservatory, and their inscription in poems and novels. Part Three explores the lens, from optical toys to 'philosophical' instruments as the telescope and microscope were known. A meditation on its history and phenomenology, Victorian Glassworlds is a poetics of glass for nineteenth-century modernity.