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Books on the topic 'Mentor Graphics'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Sari, Mehmet. Designing fast Golay encoder/decoder in Xilinx XACT with Mentor Graphics CAD interface. Monterey, Calif: Naval Postgraduate School, 1997.

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2

The Inventor mentor: Programming object-oriented 3D graphics with Open Inventor, release 2. Reading, Mass: Addison-Wesley Pub. Co., 1994.

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3

Look straight ahead: A graphic novel. [Saskatchewan]: Cuckoo's Nest Press, 2013.

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4

Olivier, Martini, ed. Bitter medicine: A graphic memoir of mental illness. Calgary: Freehand Books, 2012.

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5

Psychiatric tales: Eleven graphic stories about mental illness. New York: Bloomsbury, 2011.

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6

Character mentor: Learn by example to use expressions, poses, and staging to bring your characters to life. Boston: Focal Press, 2012.

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7

Marbles: Mania, depression, Michelangelo, and me : a graphic memoir. New York: Gotham Books, 2012.

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8

Takimoto, Tatsuhiko. Welcome to the N.H.K. Hamburg: Tokyopop, 2006.

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9

Takimoto, Tatsuhiko. Welcome to the N.H.K. Los Angeles: Tokyopop., 2007.

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10

Takimoto, Tatsuhiko. Welcome to the N.H.K. Los Angeles: Tokyopop., 2007.

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11

Takimoto, Tatsuhiko. Welcome to the N.H.K. Los Angeles: Tokyopop., 2007.

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12

Takimoto, Tatsuhiko. Welcome to the N.H.K. Los Angeles: Tokyopop., 2007.

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13

translator, Nibley Alethea, and Nibley Athena translator, eds. Your lie in April. New York: Kodansha America, Incorporated, 2016.

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14

translator, Nibley Alethea, Nibley Athena translator, and Brown Scott letterer, eds. Your lie in April. New York: Kodansha America, Incorporated, 2015.

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15

First year healthy. Montreal]: Drawn & Quarterly, 2014.

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16

Steen, Joep van der. Rendering with Mental Ray and 3Ds Max. 2nd ed. Burlington, MA: Focal Press, 2009.

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17

Dolfi, Anna, ed. Il racconto e il romanzo filosofico nella modernità. Florence: Firenze University Press, 2013. http://dx.doi.org/10.36253/978-88-6655-380-9.

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Leopardi nelle prime pagine dello Zibaldone aveva osservato che l’«amore dei lumi» induce la passione per la filosofia, facendone un elemento fondante della cultura moderna. Nessun dubbio che in questa prospettiva un posto di rilievo spetti allora al Candide di Voltaire, o al Rousseau che unisce pensar filosofico, istanze educative, passione politica e schermata autobiografia. Ma per passare dal conte al romanzo, dall’apologo e dai trattati a personaggi complessi che pure mantengono una forte allure speculativa, bisognava lasciare il Settecento, sperimentare il Romanticismo, nutrire nel secolo successivo le rêveries dei nuovi promeneurs solitaires con l’inquietudine e gli interrogativi di Dostoevskij, Kafka, Sartre, Camus, e di Pirandello, Proust, Musil…, di quanti hanno accompagnato la passione per il racconto con lo smascheramento di ogni ingannevole teodicea. Riconducendo il romanzo, a partire dall’ironica pensosità cervantina, ai borgesiani intrecci, alle ansie esistenziali. Ma, in assenza di dichiarazioni, dove trovare la prova della presenza del philosophique nel romanzo, o come individuare testi a cui si addica la definizione di roman philosophique? Questo libro, progettato e curato da Anna Dolfi, non solo pone il problema, ma tenta di rispondervi, mentre intreccia le idee del/da romanzo con le teorie costruttive, e attiva il confronto tra insignificante e significanza, emblemi e codici mitici, semiosi e destino, osservando come il linguaggio, nello sfilare degli autori, modifichi se stesso fino ad arrivare alla figuratività del graphic-novel. Punto estremo d’arrivo per un percorso che – per campioni – fissa significativi frammenti nel caleidoscopio per altri versi infinito del narrare.

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18

Missing You. New York, USA: Pocket Books, 2007.

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19

Ted, Boardman, ed. Rendering with Mental Ray and 3Ds Max. 2nd ed. Burlington, MA: Focal Press, 2009.

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20

Driemeyer, Th. Rendering with Mental ray. 2nd ed. Wien: Springer, 2001.

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21

Rendering with mental ray. Wien: Springer, 2000.

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22

Illustrator, Writer and, ed. The road to god knows...: An original graphic novel about hope, friendship, mental illness, schizophrenia, and a young teenage girl coping with her life and coming of age in a broken but loving family. Ottawa, Ontario, Canada: Von Allan Studio, 2009.

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23

Ltd, ICON Group, and Group International Inc ICON. MENTOR GRAPHICS CORP.: International Competitive Benchmarks and Financial Gap Analysis (Financial Performance Series). 2nd ed. Icon Group International, 2000.

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24

Designing Fast Golay Encoder/Decorder in Xilinx XACT With Mentor Graphics CAD Interface. Storming Media, 1997.

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25

Ltd, ICON Group, and ICON Group International Inc. MENTOR GRAPHICS CORP.: Labor Productivity Benchmarks and International Gap Analysis (Labor Productivity Series). 2nd ed. Icon Group International, 2000.

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26

The Inventor Mentor: The Essentials of Using Autodesk Inventor for Engineers and Engineering Students. Visual Graphics Pub., 2005.

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27

The Wolf Man Graphic Freud. Selfmadehero, 2012.

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28

Bitter Medicine: A Graphic Memoir of Mental Illness. Freehand Books, 2010.

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29

Schneider, Christian W., and Michael Pleyer. Cognitive Linguistics and Multimodal Poetics. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190457747.003.0012.

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This chapter applies theoretical constructs from cognitive linguistics to multimodal visual texts, such as comics. In particular, it discusses the concept of cognitive modes of scanning found in Langacker’s cognitive grammar. Mental scanning relates to the way we build conceptual representations of complex scenes and events. These can be apprehended either holistically (summary scanning) or successively (sequential scanning). A distinctly multimodal medium, comics feature the sequential ordering of images as well as their holistic configuration on the comics page. Thus they involve both summary and sequential scanning processes. The chapter uses the example of Alan Moore’s and Dave Gibbons’ graphic novel Watchmen to show how the conceptual distinction between summary and sequential scanning may provide new impulses for the analysis of graphic literature. A highly intricate text, Watchmen uses the tension of different modes of scanning to construct complex temporal configurations.

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30

Th, Driemeyer, and Herken Rolf, eds. Programming mental ray. Wien: Springer, 2000.

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31

Writing mental ray® Shaders: A Perceptual Introduction (mental ray® Handbooks). Springer, 2008.

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32

Committee on Work and Organizations, Group for Advancement of Psychiatry. Psychiatry of Workplace Dysfunction. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780190697068.001.0001.

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Relationships have always been at the heart of business. Successful businesses develop and sustain solid relationships with suppliers, employees and customers. However, the forces of technology, globalization and litigation have dramatically reshaped workplace relationships, transforming them and in some instances damaging or dissolving them. As humans have a fundamental need to work, organizations have a similar need for workers to perform tasks optimally. Data show that attending to workplace relationships and engaging employees increases productivity, creativity, and loyalty, yielding both short-term and long-term benefits. Disruptions of these relationships can lead to significant impairment in performance as well as deterioration in workers’ mental health. The tools that managers once relied upon to restore relationships have been weakened in part because of technology, globalization and litigation. The principles discussed in this book are designed to foster high-functioning workplace relationships. The authors’ psychiatric training, coupled with the breadth of their collective years of business and legal consultation experience, offers unique wisdom about developing and sustaining a relationship-focused perspective at work. The insights integrate cutting edge previously unpublished information with prior research and understanding of the psychological dynamics and principles of the workplace on both macro and micro levels—all presented in lay terminology punctuated by useful graphics with a minimum of technical terms, making the book easily understood by mental health professionals, managers, and employees audiences alike.

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33

Ferreyra, Juan, and Paul Tobin. Bad Seed: Colder. Dark Horse Comics, 2015.

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34

Oiwa, Kendi, and Tatsuhiko Takimoto. Welcome to the N.H.K., Volume 1. TokyoPop, 2006.

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35

Ty, Eleanor. Precarity and the Pursuit of Unhappiness. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040887.003.0002.

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This chapter examines three works by Japanese North American writers: Ruth Ozeki's A Tale for the Time Being,Mariko Tamaki's novella Cover Me, and her graphic novel Skim, illustrated by Jillian Tamaki. Though different in narrative style and technique, these three texts feature Japanese North American teens, who struggle with identity issues, family instability, self-esteem, and depression. The protagonists are unable to follow the kind of hard-working immigrant ethos of their parents; instead, they pursue what looks like a path to unhappiness, and suffer mental and physical consequences. Ozeki plays with the connectedness of geographical space, and uses postmodern devices to show global economic and social uncertainty; Mariko Tamaki uses the detached and ironic first-person point of view of a twenty-year old to critique our obsession with ownership and money. In Skim, verbal and visual techniques convey Skim's outsider status, her broken family, difficulties with her peers, and what Sara Ahmed calls the "happiness commandment."

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36

(Editor), Thomas Driemeyer, and Rolf Herken (Editor), eds. Programming Mental Ray (Mental Ray Handbooks) (mental ray® Handbooks). 3rd ed. Springer, 2005.

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37

(Editor), Thomas Driemeyer, and Rolf Herken (Editor), eds. Programming Mental Ray. 2nd ed. Springer, 2003.

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38

Thin Slices of Anxiety: Observations and Advice to Ease a Worried Mind. Chronicle Books, 2016.

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39

Colder Volume 3: Toss the Bones. Dark Horse Books, 2016.

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40

Rendering with mental ray® (mental ray® Handbooks). 3rd ed. Springer, 2005.

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41

Psychiatric Tales: Expanded Edition. Blank Slate Books, 2013.

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42

Psychiatric Tales. Blank Slate Books, 2010.

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43

Lil Depressed Boy. Image Comics, 2011.

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44

Standing, Sophie, and Sarah Bargiela. Camouflage: The Hidden Lives of Women with Autism. Kingsley Publishers, Jessica, 2019.

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45

Depresso Or How I Learned To Stop Worrying And Embrace Being Bonkers. Knockabout Comics, 2010.

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46

Rendering with mental ray & 3ds Max. Focal Press, 2007.

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47

Koscik, Terian. When anxiety attacks. 2016.

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48

Unravelling: How Our Caregiving Safety Net Came Unstrung and We Were Left Grasping at Threads, Struggling to Plait a New One. Freehand Books, 2017.

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49

1986-, Haifisch Anna, ed. Von Spatz. 2018.

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50

Herman, David. Narratology beyond the Human. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190850401.001.0001.

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This book aims to develop a cross-disciplinary approach to post-Darwinian narratives concerned with animals and human-animal relationships. In outlining this integrative approach to storytelling in a more-than-human setting, the study also considers the enabling and constraining effects of different narrative media, examining a range of fictional and nonfictional texts disseminated in print, comics and graphic novels, and film. Focusing on techniques employed in these media, including the use of animal narrators, alternation between human and nonhuman perspectives on events, shifts backward and forward in narrative time, the embedding of stories within stories, and others, the book explores how specific strategies for portraying nonhuman agents both emerge from and contribute to broader attitudes toward animal life. Conversely, emphasizing that stories are, in general, interwoven with cultures’ ontologies, their assumptions about what sorts of beings populate the world and how those beings’ qualities and abilities relate to the qualities and abilities ascribed to humans, promises to reshape existing frameworks for narrative inquiry. Ideas that have been foundational for the field are at stake here, including ideas about what makes narratives more or less amenable to being interpreted as narratives, about the extent to which differences of genre affect attributions of mental states to characters (human as well as nonhuman) in narrative contexts, and about the suitability of stories as a means for engaging with supraindividual phenomena unfolding over long timescales and in widely separated places, including patterns and events situated at the level of animal populations and species rather than particular creatures.

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