LEADER 04782nam 2200637Ia 450 001 9910457311103321 005 20200520144314.0 010 $a1-280-62940-1 010 $a9786610629404 010 $a0-08-045576-X 035 $a(CKB)1000000000349934 035 $a(EBL)269571 035 $a(OCoLC)469386287 035 $a(SSID)ssj0000096913 035 $a(PQKBManifestationID)11121604 035 $a(PQKBTitleCode)TC0000096913 035 $a(PQKBWorkID)10113101 035 $a(PQKB)10923358 035 $a(MiAaPQ)EBC269571 035 $a(PPN)170256804 035 $a(Au-PeEL)EBL269571 035 $a(CaPaEBR)ebr10138722 035 $a(CaONFJC)MIL62940 035 $a(EXLCZ)991000000000349934 100 $a20051017d2005 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aActive matrix liquid crystal displays$b[electronic resource] /$fWillem den Boer 210 $aAmsterdam $cElsevier$dc2005 215 $a1 online resource (252 p.) 300 $aSubtitle on cover: Fundamentals and applications. 311 $a0-7506-7813-5 320 $aIncludes bibliographical references and index. 327 $afront cover; table of contents; Preface; 1 Introduction; 1.1 Historical Perspective; 1.2 Liquid Crystal Properties; 1.3 Polarization, Dichroism, and Birefringence; 1.4 The Twisted Nematic Cell; 1.5 Limitations of Passive Matrix Addressing; Chapter 1 References; 2 Operating Principles of Active Matrix LCDs; 2.1 The Case for Active Matrix; 2.2 Requirements for Active Matrix Switching Devices; 2.3 The Thin Film Transistor; 2.4 Thin Film Silicon Properties; 2.5 Amorphous Silicon TFTs; 2.6 Poly-Silicon TFTs; 2.7 Basic Pixel Circuit and Addressing Methods; 2.8 Diode-Based Displays 327 $a2.9 Plasma-Addressed LCDs Chapter 2 References; 3 Manufacturing of AMLCDs; 3.1 Basic Structure of AMLCDs; 3.2 Thin Film Processing; 3.3 Thin Film Properties; 3.4 Amorphous Silicon TFT Array Processes; 3.5 Poly-Si TFT Array Processes; 3.6 Color Filter Array Process; 3.7 LC Cell Assembly; 3.8 Module Assembly; 3.9 Yield Improvements and Considerations; 3.10 Trends in Manufacturing; 4 AMLCD Electronics; 4.1 Drive Methods; 4.2 Row Select and Column Data Drivers; 4.3 Timing Controllers, Display Controllers, and Interfaces; 4.4 Integration of Electronics on Glass; 4.5 Backlights 327 $a4.6 Power Consumption Chapter 4 References; 5 Performance Characteristics; 5.1 Basics of Photometry and Colorimetry; 5.2 Brightness and Contrast Ratio; 5.3 Viewing Angle Behavior; 5.4 Color and Gray Scale Performance; 5.5 Response Time and Flicker; 5.6 Resolution and Size; 5.7 Image Artifacts; Chapter 5 References; 6 Improvement of Image Quality in AMLCDs; 6.1 Brightness Improvements; 6.2 Readability Under High Ambient Lighting Conditions; 6.3 Color Gamut Improvements; 6.4 Wide Viewing Angle Technologies; 6.5 Enhancement of Video Performance; 6.6 Large Size; Chapter 6 References 327 $a7 Special AMLCD Configurations 7.1 Ultra-High-Resolution Monitors and Improved Gray Scale; 7.2 Reflective and Transflective Displays; 7.3 Field-Sequential Color LCDs; 7.4 Stereoscopic AMLCDs; 7.5 Touch Screen Technologies; Chapter 7 References; 8 Alternative Flat Panel Display Technologies; 8.1 Plasma Displays; 8.2 Electroluminescent Displays; 8.3 Electronic Paper and Flexible Displays; 8.4 Organic Thin Film Transistors; 8.5 Front and Rear Projection Displays; Chapter 8 References; 9 Active Matrix Flat Panel Image Sensors; 9.1 Flat Panel Image Sensors; 9.2 Direct Conversion Detectors 327 $a9.3 Indirect Conversion Detectors 9.4 Applications of Flat Panel X-Ray Sensors; Chapter 9 References; index 330 $aActive matrix liquid crystal displays (AMLCDs) are the preferred choice when thin, low power, high quality, and lightweight flat panel displays are required. Here is the definitive guide to the theory and applications of AMLCDs.Contemporary portable communication and computing devices need high image quality, light weight, thin, and low power flat panel displays. The answer to this need is the color active matrix liquid crystal display (AMLCD). The rides of AMLCD technology over less than two decades to undisputed dominance as a flat panel display has been breathtaking, and designers 606 $aLiquid crystal displays 606 $aThin films 608 $aElectronic books. 615 0$aLiquid crystal displays. 615 0$aThin films. 676 $a621.3815422 700 $aBoer$b W. den$g(Willem),$f1914-1993.$0183642 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910457311103321 996 $aActive matrix liquid crystal displays$92464954 997 $aUNINA LEADER 04174nam 2200697 a 450 001 9910778437903321 005 20230617041818.0 010 $a0-674-03710-3 024 7 $a10.4159/9780674037106 035 $a(CKB)1000000000805488 035 $a(StDuBDS)AH23050690 035 $a(SSID)ssj0000246190 035 $a(PQKBManifestationID)11186311 035 $a(PQKBTitleCode)TC0000246190 035 $a(PQKBWorkID)10180771 035 $a(PQKB)10209441 035 $a(Au-PeEL)EBL3300630 035 $a(CaPaEBR)ebr10328807 035 $a(OCoLC)923112464 035 $a(DE-B1597)574493 035 $a(DE-B1597)9780674037106 035 $a(MiAaPQ)EBC3300630 035 $a(EXLCZ)991000000000805488 100 $a20030709d2004 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aSincerity's shadow$b[electronic resource] $eself-consciousness in British romantic and mid-twentieth-century American poetry /$fDeborah Forbes 210 $aCambridge, Mass. $cHarvard University Press$d2004 215 $a1 online resource (viii, 244 p.) 300 $aFormerly CIP.$5Uk 311 $a0-674-01188-0 320 $aIncludes bibliographical references (p. [197]-239) and index. 327 $aIntroduction 1. The Personal Universal Sincerity as Integrity in the Poetry of Wordsworth and Rich 2. Before and After Sincerity as Form in the Poetry of Wordsworth, Lowell, Rich, and Plath 3. Sincerity and the Staged Confession The Monologues of Browning, Eliot, Berryman, and Plath 4. The Drama of Breakdown and the Breakdown of Drama The Charismatic Poetry of Byron and Sexton 5. Agnostic Sincerity The Poet as Observer in the Work of Keats, Bishop, and Merrill Conclusion Notes Index 330 $aIn essays comparing poets as seemingly different in context and temperament as Wordsworth and Adrienne Rich, Lord Byron and Anne Sexton, John Keats and Elizabeth Bishop, Deborah Forbes reveals unexpected convergences of poetic strategy. 330 $bIn a work of surprising range and authority, Deborah Forbes refocuses critical discussion of both Romantic and modern poetry. Sincerity's Shadow is a versatile conceptual toolkit for reading poetry. Ever since Wordsworth redefined poetry as "the spontaneous overflow of powerful feelings," poets in English have sought to represent a "sincere" self-consciousness through their work. Forbes's generative insight is that this project can only succeed by staging its own failures. Self-representation never achieves final sincerity, but rather produces an array of "sincerity effects" that give form to poetry's exploration of self. In essays comparing poets as seemingly different in context and temperament as Wordsworth and Adrienne Rich, Lord Byron and Anne Sexton, John Keats and Elizabeth Bishop, Forbes reveals unexpected convergences of poetic strategy. A lively and convincing dialectic is sustained through detailed readings of individual poems. By preserving the possible claims of sincerity longer than postmodern criticism has tended to, while understanding sincerity in the strictest sense possible, Forbes establishes a new vantage on the purposes of poetry. 606 $aEnglish poetry$y19th century$xHistory and criticism 606 $aSelf-consciousness (Awareness) in literature 606 $aAmerican poetry$y20th century$xHistory and criticism 606 $aPostmodernism (Literature)$zEnglish-speaking countries 606 $aRomanticism$zEnglish-speaking countries 606 $aSincerity in literature 606 $aSelf in literature 615 0$aEnglish poetry$xHistory and criticism. 615 0$aSelf-consciousness (Awareness) in literature. 615 0$aAmerican poetry$xHistory and criticism. 615 0$aPostmodernism (Literature) 615 0$aRomanticism 615 0$aSincerity in literature. 615 0$aSelf in literature. 676 $a821/.709353 700 $aForbes$b Deborah$0595980 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910778437903321 996 $aSincerity's shadow$9991581 997 $aUNINA