shadow

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A region of darkness caused by the presence of an opaque object interposed between such a region and a source of light. A shadow can be totally dark only in that part called the umbra, in which all parts of the source are screened off. With a point source, the entire shadow consists of an umbra, since there can be no region in which only part of the source is eclipsed. If the source has an appreciable extent, however, there exists a transition surrounding the umbra, called the penumbra, which is illuminated by only part of the source. Depending on what fraction of the source is exposed, the illumination in the penumbra varies from zero at the edge of the full shadow to the maximum where the entire source is exposed. The edge of the umbra is not perfectly sharp, even with an ideal point source, because of the wave character of light. See also Diffraction; Eclipse.

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noun

1. Comparative darkness that results from the blocking of light rays: penumbra, shade, umbra, umbrage. See light/darkness.
2. A supernatural being, such as a ghost: apparition, bogey, bogeyman, bogle, eidolon, ghost, phantasm, phantasma, phantom, revenant, shade, specter, spirit, visitant, wraith. Informal spook. Regional haunt. See beings, supernatural.
3. An agent assigned to observe and report on another: watcher. Informal tail. See investigate.
4. A slight amount or indication: breath, dash, ghost, hair, hint, intimation, semblance, shade, soupçon, streak, suggestion, suspicion, taste, tinge, touch, trace, whiff, whisper. Informal whisker. See big/small/amount, show/hide.

verb

1. To shelter, especially from light: screen, shade. See protection/exposure.
2. To make dim or indistinct: becloud, bedim, befog, blear, blur, cloud, dim, dull, eclipse, fog, gloom, mist, obfuscate, obscure, overcast, overshadow. See clear/unclear.
3. To make dark or darker: adumbrate, darken, shade. See light/darkness.
4. To keep (another) under surveillance by moving along behind: dog, follow, track, trail. Informal bird-dog, tail. See precede/follow.

Idioms beginning with shadow:
shadow of one's self

In addition to the idiom beginning with shadow, also see afraid of one's own shadow; beyond a (shadow of a) doubt.

n

Definition: darkness
Antonyms: brightness, light

n

Definition: hint, suggestion
Antonyms: information

v

Definition: make dark
Antonyms: brighten, lighten

 (Analytical Psychology)

In Carl Gustav Jung's analytical psychology, the shadow as a concept comprises everything the conscious personality experiences as negative. In dreams and fantasies the shadow appears with the characteristics of a personality of the same sex as the ego, but in a very different configuration. It is presented as the eternal antagonist of an individual or group, or the dark brother within, who always accompanies one, the way Mephistopheles accompanied Goethe's Faust.

The role of the shadow within is sometimes hidden, and sometimes rejected or repressed, by the conscious ego. In the latter case it is pushed into the unconscious, where, because of its energy, it acts as a complex. People can, for example, be fully aware that they are avaricious, greedy, or aggressive and still manage to hide these truths from others beneath the mask of the persona. But they can also repress those characteristics. Then they are no longer conscious of them at all, and their moral ego is reestablished.

The shadow in everyone varies considerably depending on the guidelines in force within the family, the community, and the culture in which they grow up. Moreover, the shadow is not only made up of aspects of personality experienced as disagreeable or negative, but it can also have a positive side.

When the shadow is not integrated into the conscious personality and remains unconscious, it can manifest itself in two different forms. On the one hand, it can project itself onto another person in one's immediate or distant circle, leading to serious conflicts among siblings, couples, or colleagues that have a tendency to recur and lead to lasting misunderstandings. On the other hand, it can also cause deflation, so that those involved find themselves subjugated and thus inferior, bad, or clumsy. In fact, the shadow corresponds to what one does not want to become but still is, within the self. It is even something necessary, for just as a painting needs shadow to give it life and depth, each human needs a shadow—as illustrated by Peter Schlemihl de Chamisso (1824)—to become a true human being with all the genuine weaknesses and defects, qualities which can even make them likeable.

Jung developed and enriched the concept of the shadow throughout the 1930s, when he began studying closely alchemical literature and iconography in relation to his experience and conception of the process of individuation. He compared the "black work" of the alchemists (the nigredo) with the often highly critical involvement experienced by the ego, until it accepts the new equilibrium brought about by the creation of the self.

In the work he did after World War II, Jung developed the distinction between the personal shadow and the collective shadow, emphasizing the fact that while recognition and analysis of the shadow lead to a confrontation with the drives and the most intimate representations, they also lead to a confrontation with the collective unconscious. It is this that gives rise to projections of the shadow onto other cultures, other peoples, and other races—something that occurred during the twentieth century to an alarming extent.

Bibliography

Jung, Carl Gustav. (1921). Psychological types. Collected works, v. 6. Princeton: Princeton University Press (Bollingen Series).

——. (1928d). Instinct and the unconscious. Collected works, v. 8. Princeton: Princeton University Press (Bollingen Series).

——. (1944). Psychology and alchemy. Collected works, v. 12. Princeton: Princeton University Press (Bollingen Series).

——. (1951). Aïon: researches into the phenomenology of the self. Collected works, v. 9. Princeton: Princeton University Press (Bollingen Series).

——. (1955-1956). Mysterium conjunctionis: an inquiry into the separation and synthesis of psychic opposites in alchemy. Collected works, v. 14. Princeton: Princeton University Press (Bollingen Series).

—HANS DIECKMANN

The process of creating values for variables that don't rely purely on market value. Some of these variables have a market value in the present but have indeterminable future market values due to variable conditions.

Shadowing is used as in cost-benefit analysis, which allows analysts to evaluate the future comprehensive value of a variable in any number of projected conditions.

Investopedia Says:
Shadowing calculates a shadow price for the variable rather than relying solely on market price, which is how the value of economic variables tends to be measured. This hypothetical shadow price is calculated largely based on the opportunity costs and benefits of the projected scenario. By taking into account the potential costs and benefits of any given scenario, the value of the variable then reflects those circumstances in its determined worth.

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Learn to predict future events through a series of random trials. Monte Carlo Simulation With GBM

(DOD) To observe and maintain contact (not necessarily continuously) with a unit or force.

sign description: The index finger is dragged across the forehead, followed by both modified A-hands moving downward in a waving motion.

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A shadow may represent the hidden aspects of the self. The dreamer often does not accept these parts of his or her personality and they are projected upon others until the dreamer can accept them and incorporate them into his or her psyche.

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For The Record...

Original members included Jet Harris (born Terence Hawkins, July 6, 1939, Kingsbury, Middlesex, England; left group, April 1962), bass; Hank B. Marvin (born Brian Robson Rankin, October 28, 1941, New-castle-Upon-Tyne, England), lead guitar; Tony Mee-han (born Daniel Meehan, March 2, 1943, Hampstead, England; left group, October 1961), drums; Bruce Welch (born Bruce Cripps, November2, 1941, Bognor Regis, Sussex, England), rhythm guitar. Later members included Brian Bennett (born February 9, 1940, London; joined band, October 1961; left band, c. 1990), drums; John Farrar (born November 8, 1945, Australia), bass, guitar, and vocals; Brian Locking (born December 22, 1940, Bedworth, Coventry, England), bass, harmonica; John Rostill (born Kings Norton, Birmingham, England, June 16, 1942; died, November 26, 1973), bass. Band formed as the Five Chesternuts, c. 1958; became the backing band for successful British pop singer Cliff Richard under the name the Drifters, c. 1958-68; Signed to EMI Columbia as the Drifters, c. 1959; renamed themselves the Shadows, 1959; released “Apache,” which stayed at the U. K. pop charts for six weeks at No. 1, 1960; released debut album The Shadows, 1961; The Shadows Greatest Hits, 1963; disbanded, 1968; reformed by Marvin, 1969; bassist John Rostill was electrocuted to death by his guitar, 1973; hit the top 20 for the first time in ten years with “Let Me Be the One,” 1975; disbanded, 1990. Awards: Ivor Novello Award, British Academy of Songwriters, Composers and Authors, 1983. Addresses: Record company—EMD Music Distribution, 21700 Oxnard St., Suite #700, Woodland Hills, CA 91367.

Instrumental group

The Shadows achieved renown as the best-selling British instrumental group of all time, and their career as a musical act is one of the longest—though perhaps also most cataclysmic in line-up—in British pop annals as well. Led by guitarist Hank Marvin, a well-known personality in British rock circles, the Shadows hit the charts in the summer of 1960 with a catchy instrumental called "Apache," and recorded numerous other singles and albums over the next three decades—some successful, others less so. Still, Marvin is considered one of the most distinguished of guitarists of the pre-rock era, and is credited with being the first musician in England to popularize the Fender Stratocaster electric guitar. Virtuosos such as Eric Clapton, Mark Knopfler, Pete Townsend—each of whom arrived later onto the rock scene—usually cite Marvin and his Stratocaster as a profound influence. In 1996 several noted contemporary rock guitarists appeared on Twang! A Tribute to Hank Marvin and the Shadows.

Almost all of the members of the Shadows, like those of other influential rock bands in the British wave, were

born during the World War 11 era. Marvin was grew up in Newcastle-upon-Tyne, and played the banjo as ateen-ager. In 1957, he joined the Railroaders, a skiffle group formed by fellow Newcastle teen Bruce Welch, and the following year the band journeyed to London to enter a talent contest. They took third place, and Marvin and Welch decided to stay in the capital. The pair lived in London’s Soho area, both nearly destitute. For a time, they formed a band called the Five Chesternuts with some other musicians they had met in the contest, but the group had little success.

Marvin and Welch were discovered by the manager for Cliff Richard, then an up-and-coming British pop singer, in a Soho coffee bar. He asked them to join a band then forming to back Richard in a tour, and to record with him as well. The band would be called the Drifters; within a few months its line-up was fixed with the addition of bassist Jet Harris and drummer Tony Meehan. It was Harris who came up with the name "The Shadows" when a change was deemed necessary because of an American band called the Drifters. At first, the Shadows were simply a standard pop-rock act of the era, similar in style and vocals to the Everly Brothers. Instrumental tunes were tried out only during Richard’s performance breaks. Meanwhile, Marvin was finessing the guitar style for which he would gain renown. It was a sound crafted with the legendary American-made Fender Stra-tocaster guitar, and itwasn’t until hefinallyobtained one in 1959—they were difficult to come by in England, and Richard had to bring him one back directly—that his playing began to take a new turn.

Marvin’s sound was epitomized in the Shadows’ 1960 single, "Apache," an instrumental piece with an irresistible hook and otherworldly vibe. It spent twenty-one weeks on the British pop charts, six of those at number one—a success the result of "a stirring combination of Welch’s acoustic strumming and Marvin’s economical, echo-drenched picking," wrote Dan Epstein years later in Guitar Player. Marvin had bought an Italian-made echo-box device for his guitar and used it on the song that would become a trademark of the Shadow sound. Unfortunately, the success on the U.K. charts was not replicated in the United States; their label at the time, EMI of England, failed to promote it favorably overseas, and a cover version of "Apache" by a Danish guitarist soon made the U. S. charts.

Success in the Sixties
For the next several years the Shadows continued to maintain dual careers as Richard’s backing band as well as their own efforts as a separate act. The latter forays were increasingly successful, though Richard himself was an extremely popular pop idol at the time—at times he and the Shadows even competed for chart space. Under Marvin’s guidance, the band would enjoy several other Top-20 hits with the instrumentals that put his guitar virtuosity at the forefront of the mix. These hits included "Kon-tiki," "Atlantis," and "Shindig," among others. The group remained intact during this era, but Jet Harris suffered from alcoholism, and in 1962 he and Meehan left the Shadows to embark upon a joint solo career that achieved modest success. They were replaced by Brian Bennett and Brian Locking.

As the decade progressed, however, immense changes took place in the British music scene. The light, pleasing virtuosity of the Shadows, anchored by Marvin’s guitar abilities, gave way to a more "rock" sound typified by the Beatles and then the Rolling Stones. Teenagers allied themselves with the new groups to a frenzied degree, and the more pop side of British music began to be cornered by groups like Gerry and the Pacemakers, who typified the "Mersey" sound. Soon, the Shadows and Richard were not performing as well on the charts. They attempted to change along with times—adding vocals in 1965 to some songs, such as "Don’t Make My Baby Blue," another Top-20 success. They also branched out into film, appearing in a number of comic films with Richard, such as Expresso Bongo and Summer Holiday, for which they also recorded songs.

A New Era
The Shadows continued as a solo act and Richard’s backing band until 1968, when they officially parted ways. The breakup of the band itself came soon after, when Welch left. Yet the split was far from final—though Marvin and Welch’s friendship suffered many ups and downs over the years—and after Marvin took Bennett and two other new members to Japan as the Shadows in 1969 for a tour, Welch rejoined Marvin to form a Crosby, Stills & Nash-inspired group they named Marvin, Welch & Farrar. It was less than successful. In the early 1970s, Marvin converted to the Jehovah’s Witness faith, while Welch and John Rostill—the bassist on the Japan tour—began working with an up-and-coming Australian singer named Olivia Newton-John. Welch wrote and produced her hit "Please Mr. Please," while Rostill, who had played with Tom Jones, wrote another hugely successful single for her, "Let Me Be There." Tragically, in one of the strangest deaths in rock history, Rostill was electrocuted by his own guitar in his home studio in 1973.

The Marvin, Welch and Farrar lineup continued until 1973, and then Marvin and Welch officially revived the Shadows in 1973. Their sound evolved once more with the addition of keyboards, and some successful tour dates led to an invitation to represent Britain for the annual Eurovision song contest. Their entry, "Let Me Be the One," was only the runner-up, but it was their first Top 20 hit in a decade. When the Shadows compilation 20 Golden Greats was released in 1977, it effectively revived their career and launched a retro resurgence on the part of both old and new fans. Though they continued to record, they achieved only minor successes and officially played together for the last time in 1990. Marvin moved to Australia in 1986 and owns a recording studio in Perth. His legendary talents with his trademark Stratocaster was honored in the late 1990s when Fender brought him in as a consultant for a special 40th anniversary issue of the guitar. Welch continues to work with Cliff Richard and wrote an autobiography in 1989, Rock ‘n’Roll: I Gave you the Best Years of My Life. The Shadows’ history is also chronicled in The Story of the Shadows, penned by Mike Read. Their U.S. compilation arrived with Shadows Are Go! on the Scamp label, its title a homage to a movie they once appeared in. ThunderbirdsAreGo. Twang! A Tribute to Hank Marvin and the Shadows, released in 1996, honored Marvin and his cohorts with cover versions of their most well-known hits by Peter Frampton, Mark Knopfler, Neil Young, and Andy Summers, among others. Marvin sometimes tours with his son Ben, a guitarist.

Selected discography
The Shadows, 1961.
Out of the Shadows, 1962.
The Shadows Greatest Hits, 1963.
Dance with the Shadows, 1964.
The Sound of the Shadows, 1965.
More Hits, 1965.
Shadow Music, 1966.
Jigsaw, 1967.
From Hank, Bruce, Brian, and John, 1967.
Established 1958, 1968.
Somethin’ Else, 1969.
Shades of Rock, 1970.
Rockin’ with Curly Leads, 1974.
Specs Appeal, 1975.
Live at the Paris Olympia, 1975.
Tasty, 1977.
20 Golden Greats, 1977.
Thank You Very Much, 1978.
Change of Address, 1980.
String of Hits, 1980.
Another String of Hot Hits, 1980.
Hits Right Up Your Street, 1981.
Life in the Jungle/Live at Abbey Road, 1982.
XXV, 1983.
Guardian Angel, 1984.
Moonlight Shadows, 1986.
Simply Shadows, 1987.
Stepping to the Shadows, 1989.
At Their Very Best, 1989.
Reflections, 1991.
Themes and Dreams, 1991.

Sources
Books
The Guinness Encyclopedia of Popular Music, edited by Colin Larkin, Guinness Publishing, 1995.
The Rolling Stone Encyclopedia of Hock & Roll, edited by Patricia Romanowksi and Holly George-Warren, Fireside, 1995.

Periodicals
Guitar Player, September 1997, pp. 53-56.

Online
http://scofa.muse.com.au
http://www.stockportmbc.gov.uk/daved/shadows

For a list of words related to shadow, see:

• Mental States, Processes, and Behavior - shadow: in Jungian theory, unsocialized, primitive, idlike aspect of self
• Mood and Intent - shadow: follow someone secretly, at a distance, for the purpose of observation
• Secrecy and Concealment - shadow: (vb) observe another over time from a distance without being noticed; (n) one who does this
• Rites, Practices, Spells, and Symbols - shadow: phantom; faint representation of spirit
• Individuals and Objects - shadow: phantom, ghost

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See words rhyming with "shadower."

This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)

Common misspelling(s) of shadow

• shaddow

Dansk (Danish)
n. - skygge, skyggebillede, antydning
v. tr. - skygge, overskygge, følge efter
v. intr. - kaste skygge
adj. - skygge-

idioms:

• five o'clock shadow    eftermiddagsskæg
• in the shadow of    i skyggen af
• shadow cabinet    skyggekabinet
• shadow government    skyggeregering
• without a shadow of a doubt    uden den mindste tvivl
• worn to a shadow    slidt helt ned, helt udslidt

Nederlands (Dutch)
schaduw, zwakke afspiegeling, schaduwen

Français (French)
n. - (lit, fig) ombre, détective/policier qui file qn, voile, soupçon de (vérité), ténèbres (npl)
v. tr. - projeter une ombre, filer, prendre en filature
v. intr. - projeter une ombre, filer, prendre en filature
adj. - sombre, flou, indistinct, vague, mystérieux

idioms:

• five o'clock shadow    barbe de plusieurs jours
• in the shadow of    dans l'ombre de
• shadow cabinet    (GB, Pol) cabinet fantôme
• shadow government    gouvernement fantôme
• without a shadow of a doubt    sans l'ombre d'un doute
• worn to a shadow    l'ombre de lui même

Deutsch (German)
n. - Schatten
v. - beschatten
adj. - schattenhaft, Schatten...

idioms:

• five o'clock shadow    Stoppelbart
• in the shadow of    im Schatten von
• shadow cabinet    Schattenkabinett
• shadow government    Schattenregierung
• without a shadow of a doubt    ohne den Schatten eines Zweifels
• worn to a shadow    sich völlig aufgerieben habend

Ελληνική (Greek)
n. - ίσκιος, σκιά, ίχνος, φάντασμα, ζόφος, πιστός ακόλουθος, (ως επίθ.) σκιώδης
v. - σκιάζω, επισκιάζω, παρακολουθώ κατά πόδας, προοιωνίζομαι

idioms:

• five o'clock shadow    ελαφρά αξυρισιά, γένια μιας μέρας
• in the shadow of    στη σκιά, υπό τη σκιά του
• shadow cabinet    σκιώδες υπουργικό συμβούλιο, σκιώδης κυβέρνηση
• shadow government    σκιώδης κυβέρνηση
• without a shadow of a doubt    χωρίς ίχνος αμφιβολίας
• worn to a shadow    σκιά του εαυτού του

Italiano (Italian)
ombra, traccia, pedinare

idioms:

• five o'clock shadow    barba non rasata di fresco
• in someone's shadow    all'ombra di qualcuno
• in the shadow of    all'ombra di
• shadow cabinet    governo ombra
• without a shadow of a doubt    senza ombra di dubbio
• worn to a shadow    esausto

Português (Portuguese)
n. - sombra (f), obscuridão (f)
v. - seguir de perto

idioms:

• five o'clock shadow    a sombra da barba no homem às 5 horas
• in someone's shadow    na sombra de alguém
• in the shadow of    à sombra de
• shadow cabinet    políticos no parlam. britânico que receberiam ministérios se o partido estivesse
• without a shadow of a doubt    sem sombra de dúvida
• worn to a shadow    ser reduzido a uma sombra

Русский (Russian)
тень, полумрак, неизвестность, сумерки, мрак, уныние, неясное очертание, призрак, намек, теневой, оппозиционный, затенять, омрачать, туманно излагать, изображать символически, предсказывать, следовать по пятам

idioms:

• five o'clock shadow    слегка небритый
• in someone's shadow    в тени кого-л., кто затмевает достоинства
• in the shadow of    вблизи (чего-л.), поблизости от (чего-л.)
• shadow cabinet    теневой кабинет
• without a shadow of a doubt    нет и тени сомнения, нет ни малейшего сомнения
• worn to a shadow    измученный, истощенный

Español (Spanish)
n. - vestigio, indicio, pizca, espectro, aparición, vigilar de cerca, sombra
v. tr. - sombrear, oscurecer, dar sombra, ensombrecer, espiar, seguir, matizar
v. intr. - pasar gradualmente, nublarse
adj. - de sombras

idioms:

• five o'clock shadow    barba de varios días
• in the shadow of    a la sombra de
• shadow cabinet    gabinete fantasma
• shadow government    gobierno fantasma
• without a shadow of a doubt    ni sombra de duda
• worn to a shadow    reducido a una sombra, agotado

Svenska (Swedish)
n. - skugga, skuggbild, skenbild, ständig följeslagare
v. - skugga, kasta en skugga över, följa efter

中文（简体）(Chinese (Simplified))
阴影, 影像, 影子, 遮蔽, 预示, 使朦胧, 渐变, 变阴暗, 影子内阁的, 非正式的, 非官方的

idioms:

• five o'clock shadow    早上刮过晚上又长出的胡须
• in the shadow of    在...附近
• shadow cabinet    影子内阁
• shadow government    影子政府
• without a shadow of a doubt    一点儿也不怀疑
• worn to a shadow    瘦得不成样子, 疲乏无力

中文（繁體）(Chinese (Traditional))
n. - 陰影, 影像, 影子
v. tr. - 遮蔽, 預示, 使朦朧
v. intr. - 漸變, 變陰暗
adj. - 影子內閣的, 非正式的, 非官方的

idioms:

• five o'clock shadow    早上刮過晚上又長出的鬍鬚
• in the shadow of    在...附近
• shadow cabinet    影子內閣
• shadow government    影子政府
• without a shadow of a doubt    一點兒也不懷疑
• worn to a shadow    瘦得不成樣子, 疲乏無力

한국어 (Korean)
n. - 그림자, 어둠, 늘 따라 다니는 사람
v. tr. - 어둡게 하다, (그림에) 그늘을 넣다, ~을 보호하다
v. intr. - 서서히 변화하다, (얼굴이) 흐려지다, (얼굴이) 어두워지다
adj. - 그림자의

idioms:

• in the shadow of    ~의 아주 가까이에, 방금 이라도, ~이 되려고 하여
• without a shadow of a doubt    추호의 의심도 없이

日本語 (Japanese)
n. - 物影, 影, 人影, 影像, よく似たもの, 暗い部分, 暗, 陰, 暗がり, 亡霊, 尾行者, 陰影
v. - 陰にする, 陰を付ける, さえぎる, 付きまとう, 前兆となる, ぼんやり示す, 徐々に変化する, 曇る

idioms:

• in someone's shadow    ～のすぐ近くに
• in the shadow of    …のすぐ近くに
• shadow cabinet    影の内閣
• shadow government    影の内閣
• without a shadow of a doubt    いささかの疑いもなく

العربيه (Arabic)
‏(الاسم) ظل, صورة, خيال (فعل) يظلل, يحزن, يتعقب‏

עברית (Hebrew)
n. - ‮צל, רוח, הבל, תעתועים, תחושת-מועקה, עצב, אות מאיים, הסימן הקל ביותר, כחל לעיניים, שמץ, למידה מאדם בעת עבודתו, מלווה צמוד‬
v. tr. - ‮הטיל צל, בלש, עקב‬
v. intr. - ‮התכסה בצללים, השתנה (בהדרגה)‬
adj. - ‮של מילואים, להפעלה בעת הצורך‬

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Some good "shadow" pages on the web: