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    Monitoring Toxic Gases in the Atmosphere for Hygiene and Pollution Control: Pergamon International Library of Science, Technology, Engineering and Social Studies
    Monitoring Toxic Gases in the Atmosphere for Hygiene and Pollution Control: Pergamon International Library of Science, Technology, Engineering and Social Studies
    Monitoring Toxic Gases in the Atmosphere for Hygiene and Pollution Control: Pergamon International Library of Science, Technology, Engineering and Social Studies
    Ebook137 pages4 hours

    Monitoring Toxic Gases in the Atmosphere for Hygiene and Pollution Control: Pergamon International Library of Science, Technology, Engineering and Social Studies

    By William Thain

    3.5/5

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    About this ebook

    Monitoring Toxic Gases in the Atmosphere for Hygiene and Pollution Control presents the principles of atmospheric monitoring, indicates where difficulties can occur, and where errors in sampling and measurement may be expected. Organized into ten chapters, this book first describes the measurement of toxic hazards and the corresponding techniques for measurement. Subsequent chapter discusses the sources of error in sampling and measurement. Other chapters focus on detection systems based on color change; total sample collection methods; selective sample collection methods; sampling pumps; and preparation of standards for calibration of instruments and evaluation of methods. The statistics of monitoring is also explained.
    LanguageEnglish
    PublisherElsevier Science
    Release dateOct 22, 2013
    ISBN9781483158877
    Monitoring Toxic Gases in the Atmosphere for Hygiene and Pollution Control: Pergamon International Library of Science, Technology, Engineering and Social Studies

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    Reviews for Monitoring Toxic Gases in the Atmosphere for Hygiene and Pollution Control

    3.5/5

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    • 3/5
      A very, very long gothic novel with sonnets and other verse thrown in at random moments.I probably would not have finished the book had it not played such a large part in the Austen cannon. The major plot line is a great one, but it suffers from many "and at the same time, [character] was doing..." that are unnecessary. A thick red pen through half of the pages would greatly improve it, but I obviously have "modern" tastes.Worth a read, or a skim, if you are interested in gothic literature and the history of the novel.
    • 4/5
      I enjoyed this book much more than I thought I would! The beginning is slow, but the plot really picks up once Emily gets to Udolpho. I loved that part of the book—it was so gothic and horrifyingly suspenseful! The last volume was a little slow, too, mostly because there was too much of the de Villeforts and not enough of Emily. I loved Emily and I was happy to see that her and Valancourt's typical literary misunderstanding gets worked out in the end. The evildoers are punished and the good people all have a happy ending.

      Some quotes I bookmarked (I've known people like Madame Cheron so I identify with Emily here):

      "The repast was silent and melancholy on the part of Emily; and Madame Cheron, whose vanity was piqued on observing her dejection, reproved her in a manner that did not contribute to remove it."

      "...Emily had frequently blushed at the fearless manners, which she had seen admired, and the brilliant nothings, which she had heard applauded; yet this applause, so far from encouraging her to imitate the conduct that had won it, rather made her shrink into the reserve, that would protect her from such absurdity. Madame Cheron looked on her niece's diffidence with a feeling very near to contempt, and endeavoured to overcome it by reproof, rather than to encourage it by gentleness."

      "When the company arrived, Emily entered the saloon with an air of timidity, which all her efforts could not overcome, and which was increased by the consciousness of Madame Cheron's severe observation."

      A typical nature-y quote from the book that made me laugh:

      "The Lady Blanche, meanwhile, hastened to indulge, amidst the wild wood-walks around the chateau, her new enthusiasm, where, as she wandered under the shades, her gay spirits gradually yielded to pensive complacency. Now, she moved with solemn steps, beneath the gloom of thickly interwoven branches, where the fresh dew still hung upon every flower, that peeped from among the grass; and now tripped sportively along the path, on which the sunbeams darted and the checquered foliage trembled—where the tender greens of the beech, the acacia and the mountain-ash, mingling with the solemn tints of the cedar, the pine and cypress, exhibited as fine a contrast of colouring, as the majestic oak and oriental plane did of form, to the feathery lightness of the cork tree and the waving grace of the poplar."

      I have to admit I did not read the poetry the characters were constantly composing.
    • 4/5
      Give me a book about a troubled orphan, whose fate and fortunes are left in questionable hands and whose love life is in a shambles, and I'm a happy reader.Ann Radcliffe's "The Mysteries of Udolpho" has all that in spades. The unfortunate heroine Emily St. Aubert struggles to keep her emotions in check as she is essentially imprisoned in the Gothic castle of Udolpho by the dastardly Montoni. Cue plenty of weeping and fainting as events unfold at the creepy castle. Going in, you should know that Radcliffe's book is a Gothic romance -- so there are plenty of overwrought scenes and vivid (often delicious) descriptions of the landscape that serve as a precursor to the emotions evoked in the following chapters. Yet, the story itself (especially volumes two and three) is not only compelling, but at times is sublime. I'm told (by a friend who is an English professor) that Udolpho was the Harlequin romance of its day -- all of the famous literati were secretly reading it but unwilling to admit it. I can completely understand why, as the book, written in 1794, is still readable and enjoyable even today.
    • 3/5
      Accomplished, refined, and beautiful, our heroine Emily St. Aubert finds herself orphaned, her finances in doubt, and surrounded by uncaring, vacuous, and social climbing relatives. Refusing to marry her true love Valancourt, she accompanies her aunt to Italy. There, they both become the prisoners of the sinister Count Montoni. His Castle Udolpho has all the stock trappings of the Gothic: the medieval architecture, the heavy tapesteries, the veiled and oddly familiar portraits, requisite secret passages, horrible sights in the dungeons, mysterious apparitions, hinted murders, and ghostly voices. Through it all, Emily finds time to write a fair amount of poetry. (It's not for nothing the novel's subtitle is "A Romance Interspersed with Some Pieces of Poetry".) Radcliffe was one of the most influential Gothic writers, and this 1794 work is generally regarded as her best. Is it worth reading today solely on its own merits? Not quite. Radcliffe's story is too long, her reveries over landscape wearisome. There is a flavor of earnest moral instruction as Emily not only struggles to master her emotions, but Radcliffe, in her contrived solutions to supernatural mysteries, is intent on stamping out the unreasonableness of superstition. Yet, there is not just great sentiment but psychological insight too. And the ending is surprising despite the inevitable familiarity of many of the story's trappings. Matthew Lewis _The Monk_ is much more fun, a distillation of much of Radcliffe's images and tropes into a delightfully lurid and supernatural plot. (To extend Stephen King's metaphor that the first Gothic novel, Horace Walpole's _The Castle of Otranto_ was the genre's Elvis Presley and Lewis' novel its Sex Pistols, one is tempted to say this is its prog rock.) But students of the genre and the novel in general will want to read one of the most popular Gothics and study Radcliffe's technique -- including her somewhat clumsy backstory passages. Finally, it would be a mistake to leave the impression this is just a novel of fear and anxiety. The love between Valancourt and Emily makes this a romance in every sense of the word.
    • 4/5
      This gothic romance novel is beautifully written. It is very slow by modern standards and a bit dull at first, but it must be understood in its own terms, with long evocative descriptions of the countryside and of people's feelings. The gothic horror elements are well drawn and not a huge part of the novel, but atmospheric and intriguing, and eventually explained in rational terms. The various plot strands come together in the end, with the coincidences one would expect of a novel of this period. Spellbinding, as long as one reads it slowly and sees it in perspective.
    • 4/5
      ”She saw herself in a castle, inhabited by vice and violence, seated beyond the reach of law and justice, and in the power of a man, whose perseverance was equal to every occasion, and in whom passions, of which revenge was not the weakest, entirely supplied the place of principles.”Ever since I first read Jane Austen's Northanger Abbey, I've wanted to read The Mysteries of Udolpho, the book Northanger's heroine, Catherine Morland, found so fascinating. But, I've spent years putting off reading Radcliffe's most well-known work because I'd heard it's long and boring and because it was published in the 18th century and I wasn't sure I'd be able to understand it; basically I was scared.Then before rereading Northanger Abbey earlier this year I decided I was going to try and read an 18th century gothic novel. I picked The Castle of Otranto by Hugh Walpole because it was the shortest and surprised myself by quite enjoying it. I decided this meant there might be hope I could read Udolpho and provided myself with the Oxford World’s Classics edition from the library.I found this book a lot more enjoyable than I expected to. I can understand why people find it boring and silly; there are a lot of passages describing the beautiful scenery of the south of France and Italy where the story is set, Radcliffe writes in very long sentences, the characters will randomly compose poetry which Radcliffe includes in the text and the heroine faints a lot. It took me quite a while to get used to Radcliffe’s prose and I found I needed to read this book at a much slower pace than usual to appreciate it but once I’d managed to adjust to this I took a great deal of pleasure in this dreamlike tale.Several aspects of the book surprised me. The first was that the heroine, Emily St Aubert, is a real heroine, not a pathetic girly-girl despite the number of times she faints. Although essentially a demure heroine, Emily’s struggle against her evil guardian is something she is left to cope with on her own; orphaned, separated from her fiancé, with only a maid who is almost Shakespearean in her loquaciousness to support her, and she is successful in this lone struggle. Yes, in her final escape from the castle she is assisted by a man, but in my eyes, by that point, the battle has already been won. Secondly, one of the things Radcliffe seems to be trying to get across with this book is the idea that self-restraint should be exercised over one’s emotions rather than giving them free rein. This doesn’t mean that she thinks emotions are bad, her long descriptions of the scenery are, after all, trying to evoke emotions of awe and wonder in the reader, she does seem concerned that sensibility can be dangerous if encouraged to excess. This made me wonder how much of Jane Austen’s parody of The Mysteries of Udolpho in Northanger Abbey was at least in part, a parody on the public reaction to Radcliffe’s book rather than the book itself. If Catherine Morland had read Udolpho more carefully she would have known not to encourage her sensibilities and the embarrassing scene with Henry in his mother’s room could have been avoided.A note on the Oxford World’s Classics edition: I found the notes in this edition really very helpful as in addition to explaining any 18th century words or phrases a 21st century reader would be unfamiliar with; they also gave a lot of background to the areas of 18th century philosophy and thinking which Radcliffe was drawing on. The introduction by Terry Castle was also very good but, like most introductions, I wouldn’t recommend reading it until after you’ve finished the book.
    • 2/5
      Emily’s a bitch. I liked Du Pont & was disappointed we didn’t find out his fate. The mysteries’ being solved was on the anticlimactic side.
    • 3/5
      This work was definitely written in a different time! Parts were a bit slow, which was not what I was expecting. And I wasn't expecting it to be 600+ pages either. The quintessential Gothic novel - it turns out to be true, but if you read it - I recommend just skipping the first volume entirely! And I almost never condone not reading a work in its entirety. It's an interesting work, griping in parts, and I can't wait to re-read Jane Austen's Northanger Abbey, I know this will give me new perspective!
    • 4/5
      1004 The Mysteries of Udolpho Volume One, by Ann Radcliffe (read 16 Apr 1969)1005 The Mysteries of Udolpho Volume Two, by Ann Radcliffe (read 21 Apr 1969) I finished the second volume of this two-volume work on 21 April 1969. Written in the 1790's, it is quite a story. Slow-moving, inartful, it yet caught me up. Emily St. Aubert, a fainty girl of 20, is taken by her mean aunt to an Italian castle, Udolpho, where she had various scary adventures. She finally escapes fairly easily, and the rest of the book traces the difficulty of Valancourt--abandoned, rejected, but then triumphant. Sir Walter Scott does all this much, much better. Is it worthwhile to read more of these early Gothic novels? [I must have concluded it was not, since I don't recall reading any others.]
    • 3/5
      Being my first read of the First Lady of Gothic fiction, I can say that I'm a bit underwhelmed. The story has some occasionally excellent descriptions, lots of emotion, and generally moody atmosphere. However, often the descriptions are generic (must every single sea view have sails?) and the characters so overwrought that either they're fainting or they're failing to communicate, and because of this lack of communication, many trials and sorrows result. There's also a lot of deus-ex-machina going on which leaches away the gothic atmosphere. Must everything be of human origin that at first seems supernatural? Radcliffe seems to think so. However, with all that said, I learned a few new words and the story had enough complexity and emotion to propel me towards its close. Strangely, there's also quite a bit of profane oaths which generally reflect the syncrenistic view of Christianity the author possesses -- that is, having a form of godliness but denying its true power, and that is most disappointing of all.
    • 5/5
      The Mysteries of Udolpho is a fantastic book for lovers of a great gothic romance. Austen's reference to The Mysteries of Udolpho in Northanger Abbey was intriguing and led me to Radcliffe's work. Her writing is full of beautiful landscape descriptions and her character development in the first half of the novel captivates you. It is a long novel, but it keeps you in suspense until the very end and takes you on a rollercoaster ride throughout the last 100 -150 pages! The romance, gothic castles, horror, intrigue and mystery are everything you could wish for in a novel of this genre. It is a really great read and I recommend it to all.
    • 3/5
      This is a very long and sometimes very boring book, but I think it's well worth reading - especially in a group setting! (because it's fun to complain about the long and boring bits with other people, or to laugh at how silly Emily is.) I think the Gothic novel genre is fascinating, and of course Radcliffe's The Mysteries of Udolpho is one of the earlier and more well-known examples.Fans of Austen, especially Northanger Abbey, will find that familiarity with Udolpho provides a greater richness to Austen's novels. But more than that, Udolpho gives insight to 18th century thought regarding Deism, Sensibility, Benevolence, patriarchy, feminism &c &c and it comments upon philosophy that came out of the Enlightenment, such as Rousseau's idea that man is naturally good (as compared to Locke's statement that man is naturally wicked).Beyond the academic worth, I still think the Mysteries of Udolpho is fantastic and it is something that I'm glad to have read and will likely find myself reading again in the future.
    • 4/5
      What fun! A long (600+) book, but so much fun. Written in the late 1700s, this book is a sweeping gothic romance, with poetry, sweeping poetic landscapes, a thwarted love affair, evil step-uncles, secrets (some even kept from the reader but known by the protagonist, our dear Emily!), ghosts, castles, Carnivale in Venice......come on, now....who can resist all this? Due to a couple of extraneous tangents in the plot, which I felt were completely unnecessary, I only give out four stars. It was not particularly profound, but boy, oh boy, was it fun?!
    • 3/5
      I found The Mysteries of Udolpho to be like being on an Alaskan wilderness fishing trip without the insect repellent. All the elements were in place for a good time...the fresh air, the beauty, the fish...everything was just so - but for "bzzz" "slap" "bzzzz" "whack" "bbzzzzz""thwap".The frequent, and sometimes beautiful, descriptive passages concerning the Gascony countryside, the Pyrenees, the Alps, were interrupted, invariably, by a black, cloud, of no-see-um, commas that bit me repeatedly - b,z,b,z,z,z ,z, z,z z,z,z,.Then too, I stumbled time after time over the syntax - most often a log of a preposition a ",that," or a ",which," "therefore"; or appositive phrase. For example,"Annette obeyed, and Emily returned to the agonizing considerations, that had assailed her before, but which she, at length, endeavored to soothe by a new remark. If the stranger was Valancourt, it was certain he had to come alone, and it appeared, therefore, that he had been able to quit the gardens, without assistance; a circumstance which did not seem probable, had his wound been dangerous."Again, to use an Alaskan image, from a different season, the experience was like following a footpath through a winter wonderland but where the snow had melted and refrozen, so that every third or fourth step, one's contemplation of the scenery was disturbed by one's foot breaking through the crust.I would rather have watched the movie - if only there were a movie. If only Stanley Kubrick had chosen to make a film of Udolpho instead of Thackeray's Barry Lyndon. The same techniques he used in the latter - of natural but dimmer lighting indoors and sweeping vistas outdoors - would have been well suited to the strength's of Radcliffe's visual imagination. Further, Kubrick's touch with villainy, and dread, would have served him well in depicting Count Montoni, the interior of the Castle of Udolpho, and the scene of Ludovico's disappearance.The narrative is engaging and moves apace, the characters do unfold, the scenery is lush, the chateau and castle are creepy...but you do have to hack and hack and hack to clear away the brush. What's left is a Romantic, gothic tale - with a dash of feminism - about a young woman's perils and obstacles in obtaining the property and love she deserves.And I almost forgot to mention - the gratuitous and random interjections of poetry. Well, to continue with the fishing trip analogy, they're a bit like the off-color jokes of a guide/pilot - sometimes perfect, sometimes boring, and sometimes embarrassing.
    • 4/5
      First came across a reference to this book in Jane Austen's Northanger Abbey. A lot of fun.
    • 2/5
      Evocative landscapes but turgid in many places. Lots of frightened heroines but not much really happening.

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    Monitoring Toxic Gases in the Atmosphere for Hygiene and Pollution Control - William Thain

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