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Bibliographies thématiques / Room Shape / Livres

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Livres sur le sujet « Room Shape »

Auteur : Grafiati

Publié le 15 mars 2025

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1

1941-, Burns Marilyn, et Ong Cristina ill, dir. Not enough room ! New York : Scholastic, 1998.

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2

Anastasio, Dina. The Romper Room book of shapes. Garden City, N.Y : Doubleday, 1985.

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3

ill, Nicklaus Carol, dir. Busy Bear's room. New York : Grosset & Dunlap, 1985.

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4

Cross, Gillian. The Black Room. New York : Penguin USA, Inc., 2009.

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5

Cross, Gillian. The black room. New York : Dutton Children's Books, 2006.

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6

Jones, Christianne C. Room to share. Minneapolis : Picture Window Books, 2006.

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7

Banks, Lynne Reid. The L-shaped room. Bath : Chivers, 1991.

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8

Simpson, Louis Aston Marantz. In the room we share. New York : Paragon House, 1990.

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9

Klijn, Flip. Smith and Rawls share a room : Stability and medians. [Boston] : Harvard Business School, 2009.

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10

Sames, Gary P. Coal mine air tempering : Effectiveness, design, and roof support. Pittsburgh, Pa : U.S. Dept. of the Interior, Bureau of Mines, 1985.

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11

Fuss, Diana. The sense of an interior : Four writers and the rooms that shaped them. New York, NY : Routledge, 2003.

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12

Fineberg, Marianne. The sixty-eight rooms. New York : Random House, 2010.

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13

Leung, Silvia Sze Wai. Properties of alumina glass composite in relation to the fabrication of the near net shape dental root implant. Birmingham : University of Birmingham, 2000.

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14

Smith, Diane P. In the silence of this room : International authors share their thoughts in poetry and prose, linked by global issues that haunt us all. St. Paul, Minn : Grey Sparrow Press, 2009.

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15

Rocklin, Joanne. Not Enough Room (Hello Reader ! Math Level 2). Tandem Library, 1999.

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16

Big and Small, Room for All. Tundra Books, 2009.

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17

Cross, Gillian. The Black Room. BBC Audiobooks America, 2001.

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18

Cross, Gillian. The Black Room. Oxford University Press, 2005.

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19

Cross, Gillian. The Black Room (Lost). Oxford University Press, 2007.

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20

Big and Small, Room for All. Scholastic, 2008.

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21

Big and Small, Room for All. Tundra Books, 2017.

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22

SCALES, Jimmy M. Living Room Fitness : No-Equipment Home Workout - Learn How to Get in Shape Fast and Stay That Way. Independently Published, 2018.

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23

Jones, Christianne C., et Zachary Trover. Room to Share. Capstone, 2012.

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24

Banks, Lynne Reid. L-Shaped Room. Penguin Random House, 1999.

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25

Jones, Christianne C., et Zachary Trover. Room to Share. Capstone, 2021.

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26

Jones, Christianne C., et Zachary Trover. Room to Share. Capstone, 2021.

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27

Jones, Christianne C. Room to Share. Capstone, 2007.

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28

Room to Share. Mankato : Picture Window Books, 2007.

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29

Visbeck, Danielle. Heart-Shaped Room. BookBaby, 2023.

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30

Books, Mates. No Room for Shame. Blurb, 2019.

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31

Banks, Lynne Reid. The L-Shaped Room. Vintage, 2004.

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32

Tremblay, Helene. Room Enough to Share. Tandem Library, 1999.

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33

The L-Shaped Room. Chivers Audio Books, 1993.

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34

Banks, Lynne Reid. The L-Shaped Room. Vintage, 2004.

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35

Books, Mates. No Room for Shame. Blurb, 2019.

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36

Books, Mates. No Room for Shame. Blurb, 2019.

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37

In the room we share. New York : Paragon House, 1990.

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38

Moore, Marshall. Black Shapes in a Darkened Room. Suspect Thoughts Press, 2004.

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39

Dartford, James. The Shape of Space : Dining Spaces. Springer, 2013.

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40

Rockhard, Gavin. Dark Trade : Gotta Share a Hotel Room. Independently Published, 2018.

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41

Cregan, Lisa. Color : The perfect shade for every room. 2013.

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42

Ruiz, Carlos. Un Cuarto Para Dos/room to Share. Picture Window Books, 2006.

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43

Holloway, Amber. Coconut Shapes to the Root. Holloway, Amber, 2021.

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44

Glanville, Peter John. Words, roots, and patterns. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198792734.003.0002.

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Chapter 2 establishes the semantic makeup of word meaning in general, dividing it into semantic structure and conceptual content. It familiarizes the reader with roots and patterns in Arabic morphology, investigating the semantic abstractions discernable in sets of words that share a root, in addition to the semantic structure shared by words formed in the same pattern. The chapter introduces the notion of shape-invariant morphology, arriving at an approach to Arabic morphology in which some derivation is rule-based, with operations being carried out directly on base words, whereas another type of derivation involves root extraction from a source word. Word patterns are created when a morphological operation is carried out on a base word with some regularity. Once the pattern exists, a variety of base words can be mapped to it by root extraction, creating a uniform output regardless of the shape of the input word.

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45

Leuenberger, Stephan. Wolff’s Close Shave with Fatalism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198786436.003.0003.

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Modality played a central role in Christian Wolff’s philosophy. In his extensive writings on the topic, he was unusually explicit about the definitions of modal notions and what sort of principles they satisfy. His alleged endorsement of fatalism prompted his expulsion from Prussia in 1723, an event that caused a major stir among Europe’s intellectual circles. This chapter examines whether Wolff was indeed committed to fatalism, despite his protestations to the contrary. It is argued that Wolff’s theory of propositions allows him to avoid the letter of view: there are truths that are not necessary. However, Wolff fails to make room for the kind of contingency in which his opponents were interested. On the interpretation proposed, Wolff’s view is in the spirit of fatalism.

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46

Vazquez, Alexandra T. The Florida Room. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022541.

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In The Florida Room Alexandra T. Vazquez listens to the music and history of Miami to offer a lush story of place and people, movement and memory, dispossession and survival. She transforms the “Florida room”—an actual architectural phenomenon—into a vibrant spatial imaginary for Miami’s musical cultures and everyday life. Drawing on songs, ephemera, and oral histories from artists, families, and inheritors of their traditions, Vazquez hears Miami as a city that has long been shaped by Indigenous Florida, the Bahamas, the Caribbean, and southern Georgia. She draws connections between seemingly disparate artists, sounds, and stories, from singer Gwen McCrae to pirate radio innovator DJ Uncle Al, from the Miccosukee rock band Tiger Tiger to the Cuban-American songwriter Desmond Child, among the percussionists Dafnis Prieto, Obed Calvaire, and Yosvany Terry, and through the notes of Eloise Lewis, Betty Wright, and the Miami Bass group Anquette. By listening to musical collaborations and ancestral ties across place and time, Vazquez brings together formal musical details, the histories of people and locations they hold, and the aesthetic traditions transformed inside them.

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47

Generals in the cabinet room : How the military shapes Israeli policy. Washington D.C : United States Institute of Peace Press, 2006.

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48

Mathews, Jud. Horizontal Effect and Caboose Constitutionalism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190682910.003.0007.

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This chapter picks up the story where the previous chapter left off, showing how the Supreme Court of Canada initially made a show of rejecting the application of the Charter of Rights and Freedoms to private law relationships in Dolphin Delivery. But at the same time, the Court left itself room to interpret the common law to comport with Charter values. In the years since, litigants have pressed the Court to use this power to meet their normative demands, and the Court has done so on many occasions. At the same time, the Court has showed solicitude for legislative initiatives, often using the Charter to shape private-party obligations to one other only after the legislature has taken some rights-protective action in that area, in a strategy that might be called caboose constitutionalism.

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49

Kaine et Duds. No Room for Numbers : The 123s Ask the ABCs to Share Their Song. Independently Published, 2019.

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50

Russell, David. Marion Milner. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192859204.001.0001.

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Abstract This book provides an introduction to, and a reading of, the work of the twentieth-century essayist, artist and psychoanalyst, Marion Milner. It explains her life’s project in seeking a ‘life of one’s own,’ and a way of living that Milner felt really to be hers and not handed to her or forced upon her by others. The project traces Milner’s own response to the challenge of creatively relating to the world around her, as she experimented with diary writing, drawing and painting, and in psychotherapy. It is structured in three sections: Reading, Drawing and Getting Better, and it models a way of reading inspired by Milner’s experiment. The central claim of the book is that Milner offers two major propositions about the creative life. The first of these is about attention, and the way it is practised creatively. The second is about mediation, which means the way we shape, and are shaped by, the forms and materials of our lives. The book analyses how Milner’s own techniques of writing and drawing make room for creative experience, as well as the ways she fostered that experience in her clinical work with patients. Finally, the book positions Milner in relation to her important contexts in the histories of literature, art, and philosophy, and in relation to major psychoanalytic thinkers in Britain, like Melanie Klein and Donald Woods Winnicott.

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