Journal articles on the topic 'Dance Australia 20th century History'
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1
Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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Kušnír, Jaroslav. "History, Art and Consumerism— Richard Powers’ Three Farmers on Their Way to a Dance." CLEaR 4, no. 1 (April 25, 2017): 11–16. http://dx.doi.org/10.1515/clear-2017-0002.
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Abstract This article analyzes three narrative lines as depicted in Richard Powers’ Three Farmers on Their Way to a Dance (1985) and the way his depiction of real, photographed, present and past characters along with a narrative reference to a photograph create a metafictional and intertextual frameworks through the use of which Powers symbolically points out a sensibility of the late 20th century and its difference from early 20th century related to the vision of the world, understanding of reality, art, and history. In addition, the article emphasizes Powers’ use of postmodern allegory and the way it creates another meaning which points out a commercial and consumerist character of the 20th century and which also symbolically represents a history of technical and artistic depiction of the world.
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Kanevskaya, Galina I. "Russian Libraries in Australia in the 20th Century." Bibliotekovedenie [Russian Journal of Library Science], no. 3 (May 25, 2009): 80–85. http://dx.doi.org/10.25281/0869-608x-2009-0-3-80-85.
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The article deals with review of the history of Russian librarianship in Australia. The role of libraries in preservation of Russian language in the Russian diaspora and national identity in the being in the strange cultural space is defined.
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Fitch, Kate. "Rethinking Australian public relations history in the mid-20th century." Media International Australia 160, no. 1 (August 2016): 9–19. http://dx.doi.org/10.1177/1329878x16651135.
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This article investigates the development of public relations in Australia and addresses calls to reconceptualise Australian public relations history. It presents the findings from an analysis of newspaper articles and industry newsletters in the 1940s and 1950s. These findings confirm the term public relations was in common use in Australia earlier than is widely accepted and not confined to either military information campaigns during the war or the corporate sector in the post-war period, but was used by government and public institutions and had increasing prominence through industry associations in the manufacturing sector and in social justice and advocacy campaigns. The study highlights four themes – war and post-war work, non-profit public relations, gender, and media and related industries – that enable new perspectives on Australian public relations history and historiography to be developed.
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Lemos, Justine. "Radical Recreation: Non-Iconic Movements of Tradition in Keralite Classical Dance." Recherches sémiotiques 32, no. 1-2-3 (December 10, 2014): 47–82. http://dx.doi.org/10.7202/1027772ar.
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Many studies assume that dance develops as a bearer of tradition through iconic continuity (Downey 2005; Hahn 2007; Meduri 1996, 2004; Srinivasan 2007, 2011, Zarrilli 2000). In some such studies, lapses in Iconic continuity are highlighted to demonstrate how “tradition” is “constructed”, lacking substantive historical character or continuity (Meduri 1996; Srinivasan 2007, 2012). In the case of Mohiniyattam – a classical dance of Kerala, India – understanding the form’s tradition as built on Iconic transfers of semiotic content does not account for the overarching trajectory of the forms’ history. Iconic replication of the form as it passed from teacher to student was largely absent in its recreation in the early 20th century. Simply, there were very few dancers available to teach the older practice to new dancers in the 1960s. And yet, Mohiniyattam dance is certainly considered to be a “traditional” style to its practitioners. Throughout this paper I argue that the use of Peircean categories to understand the semiotic processes of Mohiniyattam’s reinvention in the 20th century allows us to reconsider tradition as a matter of Iconic continuity. In particular, an examination of transfers of repertoire in the early 20th century demonstrates that the “traditional” and “authentic” character of this dance style resides in semeiotic processes beyond Iconic reiteration; specifically, the “traditional” character of Mohiniyattam is Indexical and Symbolic in nature.
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Bolvári-Takács, Gábor. "The History of the State Regulation of Dance Teacher Training in Hungary." Tánc és Nevelés 3, no. 2 (2022): 65–91. http://dx.doi.org/10.46819/tn.3.2.65-91.
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In regard to dance teacher training, the process of state regulation began with a recognition of dance education as an activity worthy of regulation, followed by efforts to gradually bring it under state control. Until the middle of the 20th century, this mainly resulted in the regulation of dance school activities by professional interest protection organizations and regulations related to exit exams. These measures began in 1922 when for the first time the minister of interior affairs established a dance master qualification examination board for the state recognition of certificates issued by professional associations. After 1945, the process diversified in terms of genres (e.g., ballet, the art of movement, folk dance, and ballroom dance) and, in addition to the regulation of training, took shape in the creation of state institutions. In 1974, dance teacher training was raised to the college level, and finally after 2006, as a result of the Bologna process, the master’s degree represented the highest attainment in the training of dance teachers.
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Liu, Ting. "Singing (vocal) as a component of ballet: the experience of interpreting the phenomenon in the context of artistic trends of the early 20th century." Culture of Ukraine, no. 75 (March 21, 2022): 93–102. http://dx.doi.org/10.31516/2410-5325.075.12.
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The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in the field of interpretology provides the relevance of the topic of the article and determines the novelty of the obtained results.
The purpose of the article is to reveal the preconditions and content of the functional unity of the art of singing and dance against the background of artistic trends of the early 20th century (starting with “Pulcinella” by I. Stravinsky).
The creative tandem of dance and singing has its roots in ancient Greek culture, on which the creators of the French tradition of ballets du court (J.-B. Llully focused. In the realm of «mixed genres» of baroque music, the «golden age» of homo musicus began. The latest history of singing in ballet begins with I. Stravinsky, his «Pulchinelli». The obtained results of the research of the problem “What is singing in ballet — a tribute to history or an invention of modern culture”? First, the presence of the “genetic code” of this phenomenon in the art of Western Europe of the Modern times; secondly, the regularity of the tendency to synthesize singing in the art of ballet as a manifestation of neoclassicism, closely related to the historicism of compositional thinking of I. Stravinsky.
The conclusions outline the preconditions and content of the functional unity of singing and dance in the format of artistic trends of the early 20th century: 1) the historical and cultural code of French art (singing — dramatic play — dance); 2) personal self-reflection of I. Stravinsky (his relations on the basis of creative cooperation in the early 20th century later formed a wide range of communication for artists: O. Rodin, A. Modigliani, K. Monet, P. Picasso, V. Kandinsky); 3) imitation of pre-classical, pre-baroque, and ancient folk traditions. In general, the revival of the function of singing in ballet of the 20th century took place on the basis of musical historicism and serves as a mental sign of the birth of neoclassicism.
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Mantellato, Mattia. "(Re)Playing Shakespeare through modern dance: Youri Vámos’s Romeo and Juliet." Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (March 31, 2020): 54–68. http://dx.doi.org/10.1177/0184767820913794.
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This article discusses Youri Vámos’s 1997 modern-dance adaptation of William Shakespeare’s Romeo and Juliet. It examines the shift from Renaissance Verona to the 20th century; his choreographic architecture within physical and spatial ‘partitions’; and his contemporary-dance vocabulary, which fuses classical technique with modern gestures and movements. The lovers are interpreted by the youngest, least experienced dancers in the ensemble, while the dramatisation shifts between irony and tragedy, following a succession of intersemiotic translations of the text and stylistic reworkings. The article concludes with a study of the lovers’ pas de deux, comparing their first encounter and the ballet’s tragic conclusion.
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EBACH, MALTE C. "A history of biogeographical regionalisation in Australia." Zootaxa 3392, no. 1 (July 18, 2012): 1. http://dx.doi.org/10.11646/zootaxa.3392.1.1.
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The development of Australian biogeographical regionalisation since 1858 has been driven by colonial 19th-centuryexploration and by the late 20th-century biodiversity crisis. The intervening years reduced existing large scaleregionalisation into smaller taxon specific areas of vegetation or endemism. However, large scale biotic biogeographicalregionalisation was rediscovered during multi-disciplinary meetings and conferences, sparking short-term revivals whichhave ended in constant revisions at smaller and smaller taxonomic scales. In 1995 and 1998, the Interim BiogeographicRegionalisation for Australia and the Integrated Marine and Coastal Regionalisation of Australia, AustralianCommonwealth funded initiatives in order to “identify appropriate regionalisations to assess and plan for the protectionof biological diversity”, have respectively replaced 140 years of Australian biogeographical regionalisation schemes. Thispaper looks at the rise and slow demise of biogeographical regionalisation in Australia in light of a fractured taxonomic biogeographical community.
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Ferguson, Philip M. "The Doubting Dance: Contributions to a History of Parent/Professional Interactions in Early 20th Century America." Research and Practice for Persons with Severe Disabilities 33, no. 1-2 (March 2008): 48–58. http://dx.doi.org/10.2511/rpsd.33.1-2.48.
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Garton, Stephen, and Margaret E. McCallum. "Workers' Welfare: Labour and the Welfare State in 20th-Century Australia and Canada." Labour / Le Travail 38 (1996): 116. http://dx.doi.org/10.2307/25144094.
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Hadžihasanović, Ivana, Merima Čaušević, and Indira Mahmutović. "Uticaj muzičko-plesnog edukacijskog programa / Influence of a Specific Music and Dance Educational Program." Pregled: časopis za društvena pitanja / Periodical for social issues 62, no. 2 (November 30, 2021): 21–37. http://dx.doi.org/10.48052/19865244.2021.2.21.
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Throughout most of history, children with hearing impairments were on the margins of society. Because of their place in society, research about the possibility of music perception and engaging actively as a professional musician and dancer, started at the end of the 20th century. Although that progress started at the end of the 20th century, children with hearing impairments from Bosnia and Herzegovina don't have enough support of educational system which could include them in art education. This situation we can especially see in field of music and dance, which are very hard for adjustment because of their sensory impairment. To prove that children with hearing impairments can perceive music and improve their motor ability with the help of dance which is not at their age level, we created a special educational program which consists of music-dance workshops, where the main goal is to improve body coordination and speed of movement with music-rhythmic stimulations and dance. In this program, which last four and half months, we included 14 girls with hearing impairments from eleven to fifteen years of life. At the beginning of this program, we performed initial measurement of body coordination and movement speed, and at the end of this four-and-a-half-months long program, we performed final measurement through five standard tests: Eight with banding (MKOS), Steps aside (MKKS), Envelope test (MKKT), Slalom with three medical balls (MKS3M) and Long jump backwards (MKSUU). For effect analysis of applying musical-rhythmic stimulation, we used t-test for final samples (paired samples test). The results of this research are showing us that there is statistically significant difference in ability of body coordination and movement speed and that this musical-dance workshop program has positive impact on development of chosen motor ability.
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Rakocevic, Selena. "The Jankovic sisters and kinetography Laban." Muzikologija, no. 24 (2018): 151–72. http://dx.doi.org/10.2298/muz1824151r.
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Based on the archival material from the Legacy of Sisters Jankovic, which is stored in the National Library of Serbia, this article critically examines Ljubica and Danica Jankovic?s relation to today?s world-renowned dance notation, kinetography Laban. The analyzed archival material includes the transcript of the first edition of Laban?s notation called Schrifttanz in German, as well as several unpublished manuscripts by Ljubica Jankovic. Even though the Jankovic sisters were familiar with kinetography Laban, they (especially Ljubica) were its great opponents. Instead of learning and using kinetography Laban, they developed their own dance notation system in early 1930s and used it until Ljubica?s death in 1974. In this article, the relationship of the Jankovic sisters? dance notation to Rudolf Laban?s kinetography is considered in the context of the wider processes of development of ethnochoreology, traditional dance notations, as well as the history of kinetography Laban in Europe in the first half and mid-20th century.
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Grantseva, E. O. "Fragile Ties: Spanish Themes in Soviet Porcelain." Concept: philosophy, religion, culture 6, no. 4 (December 21, 2022): 105–14. http://dx.doi.org/10.24833/2541-8831-2022-4-24-105-114.
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The article is devoted to the study of the so-called Spanish theme in Soviet porcelain. The author analyzes the reflection of the stereotypical perception of Spain in small porcelain sculptures of the Soviet period produced by a variety of manufactures. Among the components of the Spanish theme the author highlights the images of flamenco (Spanish dance), bullfighting, most recognizable heroes of Cervantes such as Don Quixote and Sancho Panza, and fiery Carmen who was created by Prosper Mérimée and has become the stereotypical Spanish woman of the 19th century in the popular imagination thanks to the similarly named music and dance pieces. These traditional components of the perception of Spain in the 20th century were supplemented by the interpretation in propaganda porcelain of the turning point in the Spanish history — the civil war of 1936-1939. The article proposes another perspective on the Spanish theme in Soviet porcelain and considers the formation of the images of Spaniards, men and women. Such images are reflected in all the plots presented herein. Most of the sculptural works by different generations of Soviet porcelain masters are devoted to dance. The author concludes that dance scenes, including the ones that refer to Carmen are fundamental for the Spanish theme in Soviet porcelain.
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Garton, Stephen, and Margaret E. McCallum. "Workers' Welfare: Labour and the Welfare State in 20th-Century Australia and Canada." Labour History, no. 71 (1996): 116. http://dx.doi.org/10.2307/27516451.
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Bendrups, Dan. "Latin Down Under: Latin American migrant musicians in Australia and New Zealand." Popular Music 30, no. 2 (May 2011): 191–207. http://dx.doi.org/10.1017/s026114301100002x.
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AbstractThe global significance of Latin American popular music is well documented in contemporary research. Less is known about Latin American music and musicians in Australia and New Zealand (collectively termed ‘Australasia’): nations that have historically hosted waves of migrants from the Americas, and which are also strongly influenced by globalised US popular music culture. This article presents an overview of Latin American music in Australasia, drawing on ethnographic research, with the aim of providing a historical framework for the understanding of this music in the Australasian context. It begins with an explanation of the early 20th-century conceptualisation of ‘Latin’ in Australasia, and an investigation into how this abstract cultural construction affected performance opportunities for Latino/a migrants who began to arrive en masse from the 1970s onwards. It then discusses the performance practices that were most successfully recreated by Latin American musicians in Australia and New Zealand, especially ‘Andean’ folkloric music, and ‘tropical’ dance music. With reference to prominent individuals and ensembles, this article demonstrates how Andean and tropical performance practices have developed over the course of the last 30 years, and articulates the enduring importance of Latin American music and musicians within Australasian popular music culture.
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Crespi, Paola. "Rhythmanalysis in Gymnastics and Dance: Rudolf Bode and Rudolf Laban." Body & Society 20, no. 3-4 (September 2014): 30–50. http://dx.doi.org/10.1177/1357034x14547523.
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The translation of Rudolf Bode’s Rhythm and its Importance for Education and Rudolf Laban’s ‘Eurhythmy and kakorhythmy in art and education’ aims at unearthing rhythm-related discourses in the Germany of the 1920s. If for most of the English-speaking world the translation of Henri Lefebvre’s Rhythmanalysis: Space, Time and Everyday Life marks the moment in which rhythm descends into the theoretical arena, these texts, seen in their connection with other sources, express, instead, the degree to which rhythm was omnipresent in philosophical, artistic, socio-economical and psychological discourses at the turn of the 20th century. Some commentators, such as Lubkoll, have recently highlighted the centrality of rhythm in Modernity, lamenting a lack of scholarship focusing on this phenomenon. This is arguably due to a lack of access to sources accentuated by the language barrier; if, indeed, the ‘rhythmanalysis’ of the turn of the century is not an exclusively Teutonic phenomenon, it is also true that a copious amount of material on rhythm of this period is written in German and remains untranslated. In this sense, then, this translation aims at contributing to the project of a cultural history of rhythm.
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Răvdan, Geta-Violeta. "The beauty of choreographic genius – Oleg Danovski, proponent of the national ballet repertoire." Theatrical Colloquia 11, no. 2 (November 26, 2021): 82–101. http://dx.doi.org/10.2478/tco-2021-0022.
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Abstract A prominent figure in national ballet, Oleg Danovski is one of the personalities of 20th century ballet. He gave the world a vast repertoire consisting of classical, neoclassical, modern ballets, Romanian ballets, and divertimentos for operas. Despite his success with classical ballet staging that would make him famous abroad, the choreographer also turned his attention to folklore, by addressing specific local themes. Thus, through this desire to study and stylize the folk dance, he brought an important contribution to the Romanian cultivated dance, from which the image of the Romanian character dance would stem. He was devoted to the idea of Romanian ballet theater and he advocated for original music for ballet, a national repertoire and the development of the Romanian ballet school. His Romanian creations are precious pages of the history of Romanian ballet that should not be forgotten, and that have enormously contributed to the enrichment of the original choreographic repertoire.
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Cohen, Joshua. "Stages in Transition." Journal of Black Studies 43, no. 1 (November 7, 2011): 11–48. http://dx.doi.org/10.1177/0021934711426628.
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Les Ballets Africains, the first globally touring African performance company, debuted in the United States as a private Paris-based troupe in 1959 and toured again in 1960 as National Ballet of the newly independent Republic of Guinea. Although rarely considered in scholarship, Les Ballets Africains’ history during these years—encompassing the company’s first U.S. appearances and reflecting the influence of its founder, Fodéba Keita—are significant in relation to 20th-century trajectories of staged African dance, convergences between African and American performing arts practices and liberation struggles, and cultural transformations in Guinea under president Sékou Touré.
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Raheb, Katerina El, Marina Stergiou, Akrivi Katifori, and Yannis Ioannidis. "Moving in the Cube." Journal on Computing and Cultural Heritage 14, no. 2 (June 2021): 1–26. http://dx.doi.org/10.1145/3427379.
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Labanotation is one of the most used systems for notating, analysing, and preserving movement and dance, an important part of Intangible Cultural Heritage. Labanotation consists of a powerful expressive symbolic language for documenting movement with a long history in dance research, history, and anthropology since its introduction by Rudolf von Laban in the beginning of the 20th century. A number of valuable scores in this language are curated in both physical and digital archives throughout the world, describing both traditional dances and works of historical choreographers. Nevertheless, while Labanotation is considered the official language of dance scholars, it is not at all popular among dance educators, students, practitioners, and choreographers. In fact, few people of the dance community are familiar with it. One of the reasons is that it is considered a quite difficult symbolic system with a long learning curve, and practitioners are not easily motivated to learn it. Together with dance experts, we co-designed a movement-based experience in Kinect, based on the principles of playful design, to introduce dance and non-dance experts to Labanotation introductory concepts and symbols. We evaluate the experience with both people that have experience in dance or other movement practices, as well as participants with no expertise in movement or dance. The results show promising findings toward changing the attitude of the participants toward Labanotation, and all participants seemed to memorize or start learning the logic of this symbolic language for movement. We discuss the results of the evaluation on the whole experience and the potential of this symbolic language in the digital environment, as well as the potential and challenges that arise from this experiment based on the background of the participants, the limitation of the applied technology and interaction, as well as feedback on the introduced symbolic language.
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Dehm, Sara. "Legal Exclusions: Émigré Lawyers, Admissions to Legal Practice and the Cultural Transformation of the Australian Legal Profession." Federal Law Review 49, no. 3 (May 19, 2021): 327–51. http://dx.doi.org/10.1177/0067205x211016574.
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Legal histories of Australia have largely overlooked the exclusion of European émigré lawyers from legal practice in Australia. This article recovers part of this forgotten history by tracing the drawn-out legal admission bids of two Jewish émigré lawyers in the mid-20th century: German-born Rudolf Kahn and Austrian-born Edward Korten. In examining their legal lives and doctrinal legacies, this article demonstrates the changing role and requirement of British subjecthood in the historical constitution and slow cultural transformation of the Australian legal profession. This article suggests that contemporary efforts to promoting cultural diversity in the Australian legal profession are enriched by paying attention to this long and difficult history of legal exclusions.
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Choo, Christine. "The Impact of Asian - Aboriginal Australian Contacts in Northern Australia." Asian and Pacific Migration Journal 3, no. 2-3 (June 1994): 295–310. http://dx.doi.org/10.1177/011719689400300218.
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The long history of Asian contact with Australian Aborigines began with the early links with seafarers, Makassan trepang gatherers and even Chinese contact, which occurred in northern Australia. Later contact through the pearling industry in the Northern Territory and Kimberley, Western Australia, involved Filipinos (Manilamen), Malays, Indonesians, Chinese and Japanese. Europeans on the coastal areas of northern Australia depended on the work of indentured Asians and local Aborigines for the development and success of these industries. The birth of the Australian Federation also marked the beginning of the “White Australia Policy” designed to keep non-Europeans from settling in Australia. The presence of Asians in the north had a significant impact on state legislation controlling Aborigines in Western Australia in the first half of the 20th century, with implications to the present. Oral and archival evidence bears testimony to the brutality with which this legislation was pursued and its impact on the lives of Aboriginal people.
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Neuberger, Pavel, and Pavel Kic. "A Century of Use of SOLOMIT Thermal Insulation Panels." Energies 14, no. 21 (November 2, 2021): 7197. http://dx.doi.org/10.3390/en14217197.
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This article traces the century-old history of using a thermal and acoustic insulation panel called SOLOMIT. It presents some of Sergei Nicolajewitsch Tchayeff’s patents, on the basis of which production and installation took place. The survey section provides examples of the use of this building component in Australia, Czechoslovakia, France, Germany, the Netherlands, Poland, Russia, the Soviet Union and Spain. It pays attention to applications in the 1950s and 1960s in collectivized agriculture in Czechoslovakia. It also presents the results of measuring the thermal conductivity of a panel sample, which was obtained during the reconstruction of a cottage built in the 1950s and 1960s of the 20th century. Even today, SOLOMIT finds its application all over the world, mainly due to its thermal insulation and acoustic properties and other features, such as low maintenance requirements, attractive appearance and structure and cost-effectiveness.
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Choi, Haeree. "A Study of Creative Application of the Dancer's Oral History : Making Diagrams Related to the Korean Dance Scene in the 20th Century." Journal of Dance Society for Documentation & History 51 (December 31, 2018): 171–98. http://dx.doi.org/10.26861/sddh.2018.51.171.
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Roberts, Priscilla. "British Commonwealth Archives from Far North to Distant South: Neglected Resources for Cold War International History." Journal of American-East Asian Relations 29, no. 2 (June 29, 2022): 133–66. http://dx.doi.org/10.1163/18765610-29020003.
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Abstract British Commonwealth archives constitite a rich and often under-utilized source of material for understanding the international history of the 20th and 21st centuries. From the late 19th Century onward, Canada, Australia, and New Zealand each enjoyed close and confidential relations with not just Britain, but with each other and increasingly, too, with the United States. They also participated in major international organizations at both an official and non-governmental level. Although or perhaps because each was a “middle” rather than “great” power, as each country developed its own diplomatic bureaucracy, their representatives often had informal and even intimate insights into the policies of a wide range of countries. This article introduces the highlights of each nation’s major archival repositories for materials relating to international affairs. While the holdings of the Library and Archives of Canada in Ottawa, the National Archives of Australia and the National Library of Australia in Canberra, and the National Archives of New Zealand in Wellington all feature prominently, the author casts a wider net and draw researchers’ attention to additional important and often under-utilized collections scattered across the different countries.
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Cooke, Julia, R. H. Groves, and Julian Ash. "The distribution of Carrichtera annua in Australia: introduction, spread and probable limits." Rangeland Journal 33, no. 1 (2011): 23. http://dx.doi.org/10.1071/rj10001.
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Carrichtera annua (L.) DC. (Brassicaceae) or Ward’s Weed, a major weed of semi-arid rangelands of southern Australia, has been collected widely since its introduction early in the 20th century. Collated records were used to suggest a single site of accidental introduction in South Australia, evidence of a lag phase of ~30 years (probably due to edaphic restrictions) before rapid spread, involving infrequent long-distance human-aided dispersal across southern Australia and a relatively stable range since the 1960s. Climate and soil analyses suggest that abiotic factors limit the distribution of C. annua, with the species being restricted to areas with winter-dominated rainfall and calcareous soils. Documentation of the history of a successful invasion, including the spread and probable limits of the current distribution of a species, is important for managing invasions. This study also highlights that a single, accidental introduction can result in a long-lasting, widespread problematic weed.
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D'Souza, Nigel. "Aboriginal Children: The Challenge for the end of the Millennium." Children Australia 15, no. 2 (1990): 14–15. http://dx.doi.org/10.1017/s1035077200002686.
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No other group of children in Australian society stands in greater judgement of the ability and willingness of this society to deal with their problems than aboriginal children.The challenge that faces all of us in the nineties, including aboriginal community-controlled organisations like SNAICC, is whether we are going to be able to break the cycle of disadvantage, poverty and racism that keeps our children and our community at the very bottom of this society.The 20th century history of Australia will be seen as the millennium of a great expansion of wealth in Australia. It will be regarded as a period of gigantic advances in science and productive technology. It will also - if historians record accurately - show the plight of aboriginal people as the single glaring blight on the record of this country.
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HAMILTON, REBECCA, and DAN PENNY. "Ecological history of Lachlan Nature Reserve, Centennial Park, Sydney, Australia: a palaeoecological approach to conservation." Environmental Conservation 42, no. 1 (April 8, 2014): 84–94. http://dx.doi.org/10.1017/s0376892914000083.
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SUMMARYReconstructing the environmental history of protected areas permits an empirically-based assessment of the conservation values ascribed to these sites. Ideally, this long-term view can contribute to evidence-based management policy that is both ecologically ‘realistic’ and pragmatically feasible. Lachlan Nature Reserve, a protected wetland in Centennial Park, Sydney, is claimed to be the final remnant of early and pre-European swamplands that were once extensive in the area, and the site is thus considered to have indigenous cultural and natural conservation significance. This study uses palynological techniques to reconstruct vegetation communities at the Reserve from the late Holocene to the present in order to assess whether these values adequately reflect the history, character and development of the site. The findings indicate that the modern site flora is a modified Melaleuca quinquenervia low forest assemblage formed in response to aggregated anthropogenic disturbance since colonial settlement. This assemblage replaces an Epacris-dominated heath-swampland community that was extirpated in the mid-20th century. These results emphasize the value of long-term studies in contributing to a realistic management policy that explicitly reflects the normative basis of conservation, and values the influence of past land-uses on contemporary protected ecosystems.
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Bennett, Elaine, Selma Alliex, and Caroline Bulsara. "The nursing history of Ngala since 1890: an early parenting organisation in Western Australia." Australian Journal of Child and Family Health Nursing 16, no. 1 (July 2019): 24–32. http://dx.doi.org/10.33235/ajcfhn.16.1.24-32.
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Background: This study was the first phase of a larger study which explored the past, present and future of nursing in early parenting services in Australia. Aim: The aim of this paper is to describe the history of nursing within an early parenting service in Western Australia (WA). Methods: Triangulation of multiple data sources was used to summarise the nursing role over 120 years. The history was discovered through a document analysis of archives, including oral histories, organisational documents, focus groups, nurses’ diaries and interviews with nurses. Findings: The nursing role and context is described over three time periods: 1890–1960; 1960–1990 and 1990–2010. Nursing during the 20th century was influenced by societal and policy changes, but the essence of nursing remained the same with a focus on providing support and education to parents during pregnancy and caring for their babies and young children. Nursing within early parenting up to the 1980s was reasonably static until the move from hospital-based training to the university sector, which was the turning point of change to a new era of professionalisation and ultimately working within an interdisciplinary team. Conclusion: This description of nursing history within one early parenting service has provided insight into this specialist area of nursing.
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Cook, Garry D., and Lesley Dias. "It was no accident: deliberate plant introductions by Australian government agencies during the 20th century." Australian Journal of Botany 54, no. 7 (2006): 601. http://dx.doi.org/10.1071/bt05157.
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The weedy potential of deliberately introduced plants has been a growing concern in Australia since the late 1980s. Although introduced plants are critical to Australia’s agricultural and livestock production, many species that were praised in the past are now declared agricultural and environmental weeds. Nevertheless, weeds researchers appear largely ignorant of the magnitude and intent of plant introductions for agricultural purposes as well as the legacy of unwanted plants. Across more than 70 years, Commonwealth Plant Introductions comprised 145 000 accessions of more than 8200 species. These species include more than 2200 grass (Poaceae) and 2200 legume species (Fabaceae sensu stricto), representing about twice the indigenous flora in those families and about 22 and 18%, respectively, of the global flora of grasses and legumes. For most of the 20th century, these and other introductions supported research into continental-scale transformation of Australian landscapes to support greatly increased pastoral productivity in order to achieve policy goals of maximum density of human population. This paper documents some of the scientific developments and debates that affected the plant-introduction program. We argue that recent developments in weed science and policy need to be informed by a better understanding of plant-introduction history.
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Day, Cheryl. "Does my bum look big in this? Reconsidering anorexia nervosa within the culture context of 20th century Australia." Surveillance & Society 6, no. 2 (February 27, 2009): 142–50. http://dx.doi.org/10.24908/ss.v6i2.3254.
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Anorexia Nervosa is a mental health issue that has a history over many centuries, but has relatively recently been identified as a ‘real’ mental illness. A condition that predominantly afflicts young, middle class women it had long been subsumed among the ‘natural weaknesses’ of women, not unlike the manner in which ‘Hysteria’ was diagnosed within the Freudian understanding of women’s health. However, since the 1970s, and especially with the deaths of some high profile young women it has undergone a reassessment. While clinical understandings of Anorexia Nervosa remain contentious, there is an increasing recognition that the condition is also grounded within specific cultural understandings. The article presents a brief historical overview of the construction of ‘self-starvation’ as applied to ‘fasting saints’ and to modern anorexic women. However, the major focus of the paper is an examination of the cultural situation as exemplified in contemporary Australia. Drawing on the Foucaudian notions of self surveillance the article suggests that TV programs can be used as a vehicle for modern day ‘self surveillance ’and as guidelines for the construction of self. Briefly, TV programs, especially so called ‘reality TV,’ portray a mirror image of how we as consumers should behave. The programs I have chosen to highlight are the phenomenally popular cooking shows that are aired daily on Australian TV screens. Through an examination of the social meanings constructed around food with the TV programs as a primary carrier of these cultural references, the article seeks to address some of the contradictions with other images presented in different but contemporaneous media. While this can never be a definitive explanation of all anorectic behavior, the paper examines the images of womanhood as presented by these programs. These ‘competent and enthusiastic cooks’ are contrasted with the slim, athletic ideal as portrayed in the fashion magazines and many other ‘lifestyle’ TV programs such as holiday shows.
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Blankenship, Janelle. "“Film-Symphonie vom Leben und Sterben der Blumen”: Plant Rhythm and Time-Lapse Vision in Das Blumenwunder." rythmer, no. 16 (April 11, 2011): 83–103. http://dx.doi.org/10.7202/1001957ar.
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This essay analyzes the use of time-lapse cinematography in the early 20th century to unlock worlds hitherto “closed to man” (Balázs). I demonstrate how the new “image worlds” of time-lapse influenced biologists such as Jakob von Uexküll and 1920s avant-garde theorists alike. Using the 1926 hybrid German “cultural film” Das Blumenwunder (The Miracle of Flowers) as my primary case study, I examine how the film aims to present the “inner rhythm” of plants as an alternative temporality, which challenges an anthropocentric world view and at the same time dialogues with the ecstatic rhythms of modern dance. I discuss the film’s self-reflexive use of time-lapse technology, its reception history in the context of the avant-garde and new trends in reform pedagogy, and the specific use of Ausdruckstanz choreography to respond to industrial rhythms and to create a new mimetic form of affect.
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Carruthers, A. J. "Avant-Garde Austalgia." Journal of Foreign Languages and Cultures 6, no. 2 (December 28, 2022): 132–42. http://dx.doi.org/10.53397/hunnu.jflc.202202012.
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The Australian avant-garde raises all the contradictions of avant-garde studies in the present time. Antipodal vanguards in the 20th and 21st centuries would grapple with various aspects of Australian national history, being in various ways and times between East and West, the aligned and non-aligned, the political and geopolitical in poetics. The word “Australia,” from the Latin auster, contains meanings for “East.” Most importantly, the Antipodal vanguard exposes the contradictions of Australia’s imperial-colonial past and the struggle to overcome it. In this essay, I begin with the example of a “Dada” poem that comes from an Aboriginal rain dance, as well as the emergence of Dada poetics from the 1950s to the 1970s. Throughout I keep complexities of history and time at the forefront: what is the worth of a “marginal” national literary history of the avant-garde? What does the avant-garde mean outside Europe or the Euro-US? What can Australian Dadaism tell us about the future of avant-garde studies? Does the avant-garde always lead to nostalgia, or “Austalgia,” a hearkening after the past, as much as a striving toward the future?
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Batņa, Liene. "Music in school teaching processes through the centuries." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 30, 2015): 423. http://dx.doi.org/10.17770/sie2013vol1.568.
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Acquisition of music terms is a significant component in a contemporary music lesson in a comprehensive school nowadays. Methodology of teaching music as a separate branch in Latvia started developing in the beginning of the 20th century with the analysis of music educators’ experience published by I. Palevics. However, music as a subject at school has a longer history therefore it would be important to explore the pedagogic role of music in different periods because during music lessons not only students’ musicality and personal development are facilitated but also the tradition of singing which includes the tradition of Song Festival is maintained. In 2008 the tradition of Baltic Song and Dance Festival was included in the UNESCO List of Representative Human Non-material Culture Heritage. Therefore it is important to explore what pedagogic aspects had provided the vital capacity of Song and Dance Festival tradition throughout centuries. The aim of the article is to analyze the place of music in the pedagogic process in different historic periods. When analyzing the topicality of the article, following aim has been nominated: to explore - how the music learning traditions are formed in Latvian schools, polyphony and choir traditions, teacher education, the knowledge of music teaching inheriting from generation to generation until the.
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Lavers, Katie, and Jon Burtt. "BLAKflip and Beyond: Aboriginal Performers and Contemporary Circus in Australia." New Theatre Quarterly 33, no. 4 (October 11, 2017): 307–19. http://dx.doi.org/10.1017/s0266464x17000458.
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In this article Katie Lavers and Jon Burtt investigate BLAKflip and Beyond, a programme of workshops set up by the Australian circus company Circus Oz to mentor and support young Aboriginal performers by providing training and pathways into professional circus. Their analysis is contextualized through an examination of the thirty-year history of Circus Oz, most significantly its roots in the progressive and radical politics of the 1970s. The history of notable and successful Aboriginal performers in nineteenth- and twentieth-century Australian circus is also examined, questioning why, given the relative success of Aboriginal circus performers in the recent past, there are almost none working today. Whiteness as a pervasive characteristic of contemporary Australian performance is offered as a possible cause of this absence, while hopes for the future of Aboriginal circus are discussed with Davey Thompson, the new Aboriginal and Torres Strait Island Programme Manager at Circus Oz. Katie Lavers is an adjunct faculty member at Edith Cowan University, author of numerous journal articles, and co-editor (with Peta Tait) of The Routledge Circus Studies Reader (2016). Jon Burtt is a lecturer in Dance and Performance Studies at Macquarie University. He is the author of numerous articles on circus pedagogy, and is an advanced-level circus trainer. Lavers and Burtt are currently co-authoring (with Louis Patrick Leroux) a book on contemporary circus (forthcoming 2019).
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Strecke, Volker. "60 years of the Antarctic Treaty – history and celebration in radio waves." Polarforschung 90, no. 2 (July 29, 2022): 13–28. http://dx.doi.org/10.5194/polf-90-13-2022.
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Abstract. The Antarctic Treaty, successfully negotiated and signed in 1959, entered into force after ratification by the 12 original signatory countries in 1961. Under the Antarctic Treaty, research activities are now carried out in Antarctica by 54 countries. These are 29 consultative and 25 non-consultative parties. Radio communications have always been an important part of all scientific activities in research stations, ships and aircraft in Antarctica. Historic expeditions in the 19th century and early 20th century had to use wired telegraph stations after returning from expeditions. Between 1911 and 1913, Wilhelm Filchner and Douglas Mawson were the first Antarctic expedition leaders to explore the possibilities of wireless telegraphy. Mawson succeeded in establishing radio communications from Antarctica to Australia for the first time in 1912. Today, the use of communication technologies is almost taken for granted. Direct amateur radio communications via shortwave are a flexible backup and an effective addition to communications about the Antarctic. On the occasion of the 60th anniversary of the Antarctic Treaty, a major international radio activity was launched in the second half of 2021 with which an important contribution to communication to the public was made. Amateur radio is now an important part of research activities in Antarctica.
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Karp, Sławomir. "Karp Familly from Rekijow in Samogitia in 20th century. A contribution to the history of Polish landowners in Lithuania." Masuro-Warmian Bulletin 303, no. 1 (May 15, 2019): 77–93. http://dx.doi.org/10.51974/kmw-134970.
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The article concerns the fate of Felicjan Karp’s family, one of the richest landowners of Samogitia (Lithuania) in the first two decades of the 20th century. After his father, he inherited approximately 40,163 hectares. The history of this family perfectly illustrates the changes that this social class has undergone in the past century. The end of their existence was the end of the landowner’s existence. The twilight of the Samogitian Karps took place quite quickly, for only a quarter of a century from July 28, 1914, the date of the outbreak of World War I to the Soviet invasion of the Republic of Lithuania on June 15, 1940. Over the course of these years - on a large scale two-fold - military operations, changes in the political and economic system, including agricultural reform initiated in the reborn Lithuanian state in 1922 and deportations to Siberia in 1940 brutally closed the last stable chapter in the life of Rekijów’s owners, definitively exterminating them after more than 348 years from the land of their ancestors. Relations between the Karp family and the Rekijów estate should be dated at least from September 21, 1592. In addition to the description of the family, it is also necessary to emphasize their significant economic and political importance in the inhabited region. These last two aspects gained momentum especially from the first years of the 19th century and were reflected until 1922. At that time, representatives of the Karp family jointly owned approximately 70,050 ha and provided the country with two provincial marshals (Vilnius, Kaunas) and two county marshals (Upita, Ponevezys). The author also presents their fate during World War II in the Siberian Gulag, during the amnesty under the Sikorski–Majski Agreement of July 30, 1941, joining the formed Polish Army in the USSR (August 14, 1941), the soldier’s journey through Kermine in Uzbekistan, Krasnovodsk, Caspian Sea, Khanaqin in Iraq, Palestine to the military camp near Tel-Aviv and then Egypt and the entire Italian campaign, that is the battles of Monte Cassino, Loreto and Ancona. After the war, leaving Italy to England (1946), followed by a short stay in Argentina and finally settling in Perth, Australia.
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Kuo, Mei-fen. "The Making of a Diasporic Identity: The Case of the Sydney Chinese Commercial Elite, 1890s-1900s." Journal of Chinese Overseas 5, no. 2 (2009): 336–63. http://dx.doi.org/10.1163/179303909x12489373183091.
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AbstractThis article is about a short moment in Chinese-Australian history at the turn of the 20th century when Chinese fruit and vegetable traders in Sydney were on the verge of major international success. The concerns of this new urban elite can be gleaned from their Chinese-language newspapers and civil societies which played an important role in the evolution of the diasporic identity of the Chinese in “White-Australia” — an experience involving more than merely a refinement of native kinship practices and inherited identities — in a process that invoked a distinctively modern sense of time, space, and the unfolding of history. This is an attempt to recount their experience chiefly by reference to the developments recorded in Chinese newspapers and the narratives related to the social institutions and networks associated with them in the Federation Era (1890s-1900s).
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Khaninova, Rimma. "David Kugultinov’s Biiγin Maktal (‘Dance Praise’) and Its Russian Translation: A Genre Perspective." Бюллетень Калмыцкого научного центра Российской академии наук 2, no. 22 (October 17, 2022): 177–208. http://dx.doi.org/10.22162/2587-6503-2022-2-22-177-208.
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Introduction.The 20th century Kalmyk poetry is characterized by the vivid use of folklore genres, such as yöräl (well-wish), kharal (curse), magtal (praise). Goals. The article aims at revealing the creative history of David Ku-gultinov’s Biiγin Maktal (1956) in different editions under the title ‘Khadris’, comparing the dance magtal to a similarly-named poem by Nimgir Mandzhiev created in 1935. Methods. The employed historical/literary, comparative/typo-logical, statistical and descriptive research methods make it possible to identi-fy genre features and poetics of the texts, distinguish between editions. Results. In terms of genre, the poem is a dance magtal, i.e. shavash, or more precisely — a magtal/shavash synthesis in the 1st edition, while in other editions it is a shavash proper serving to accompany dance and encourage the dancer. The element of magtal (praise) in the 1st edition is determined by the presence of three quatrains that glorify the returned homeland, restoration of Kalmyk au-tonomy, ancestral steppes, and the Communist Party. This is a combination of autobiographical and social principles. Conclusions. The dance motif in sev-eral editions of the original text remains basically unchanged and experiences only minor transformations. The shavash is addressed to a young man per-forming a solo male dance and articulates requests to show certain dance ele-ments, traditionally compares him to representatives of steppe fauna and flora that embody strength, flexibility, dexterity, power, lightness, and smoothness (swallow, snake, jerboa, kite, butterfly, tree), to natural phenomena (whirl-wind/wind, wave). The shavash mentions a number of dance patterns, such as kholkur, moljur, dalvalγn, and tavshur. The lyrical line is defined by figures of two participants — a young man and his beloved maiden he dances for. Dynamics, rhythm, expression are manifested in the employed metrical foot (iamb of different types), in imperative verbs and their repetitions, in com-parisons and bravo exclamations. David Kugultinov’s shavash is distinguished from its folk patterns by that the khadris exclamation serves not to finalize the stanza but begins it with specific repetitions. The Russian translation by S. Lipkin entitled ‘Khadris’ has two editions — an abridged and a full one. In general, the translator conveys peculiarities of Kalmyk dance, majesty of native lands and the CPSU, though introducing some additions and omitting some details of the author.
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Wanke, Eileen M., Franziska Koch, Jeremy Leslie-Spinks, and David A. Groneberg. "Traumatic Injuries in Professional Dance—-Past and Present: Ballet Injuries in Berlin, 1994/95 and 2011/12." Medical Problems of Performing Artists 29, no. 3 (September 1, 2014): 168–73. http://dx.doi.org/10.21091/mppa.2014.3034.
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OBJECTIVE: The physical requirement profile for professional dancers has changed significantly during the past decades. The aim of this first comparative study is to present a differentiated analysis of work-related traumatic injuries sustained by professional ballet dancers at the end of the 20th century (1994/95) and now (2011/12). METHODS: The data for evaluation were obtained from work accident reports (n=241; 1994/95, n=155; 2011/12, n=86) from three Berlin theatres. RESULTS: An increase in incidence of injuries could be observed only in male dancers (0.3 injuries/yr in 1994/95 vs 0.4/yr in 2011/12). Numerous significant differences were found between injuries in the earlier time span and in the present. Movement contents resulting in traumatic injuries have changed. Furthermore, differences as to injury types, injured body region, nature of causes, dance activities prior to injury, and attitude after sustaining an occupational accident were observed. The lower extremity remained the most common injury site (66.7% in 1994/95 vs 57.0% in 2011/12, p=0.697). The frequency rate of traumatic injuries to the spine has increased significantly (13.5% in 1994/95 vs 24.1% in 2011/12, p=0.026), with injuries to the lumbar spine region more than tripled (5.8% vs 20.3% respectively). Few deviations were observed as to injury locations and organizational and time aspects (e.g., time of year of injury). CONCLUSION: Dance is progressing as evidenced by the numerous aspects resulting in traumatic injuries. It is not organizational or time changes but rather work- and content-related factors that result in significant differences between past and present injuries.
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Candela, Andrea. "Sorting out nuclear concerns: The Australian uranium debate from Jervis Bay to Ringwood's Synroc." Earth Sciences History 36, no. 1 (January 1, 2017): 116–41. http://dx.doi.org/10.17704/1944-6178-36.1.116.
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This paper critically considers the history of nuclear energy in Australia, placing particular emphasis on the strong debate about uranium mining and exporting which occurred between the late 1960s and early 1980s. Though this topic has been already analyzed by different historical studies and through numerous methodological approaches, some issues of the Australian as well as international ‘atomic debate’ which involved civil uses of nuclear power in the second half of the 20th century remain under-investigated. This article, for instance, focuses on the little-known and seldom popularized history of Synroc which, in the late 1970s, was presented as the ‘geological perspective’ to deal with radioactive waste disposal. The matters under discussion here are particularly important because of their links with some key issues still prevalent in the international nuclear debate, such as nuclear safety, atomic weapons proliferation and the safe disposal of nuclear wastes.
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Vernyhor, Dmytro. "The Ukrainian Star of World Ballet." Diplomatic Ukraine, no. XX (2019): 794–98. http://dx.doi.org/10.37837/2707-7683-2019-54.
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The article deals with the life and career path of Serge Lifar, a Ukrainian world-class dancer, choreographer, theorist of choreography, historian and reformer of the 20thcentury ballet, Honorary President of the UNESCO International Dance Council. Serge Lifar was a prolific artist, choreographer and director of the Paris Opéra Ballet, one of the most preeminent ballet companies in Western Europe. Attention is drawn to the fact that pedagogical activity constituted a significant part of Lifar’s work. In 1947, he founded the French Academy of Dance, from 1955 he taught his-tory and theory of dance at Sorbonne University, having developed his own system of ballet dancers’ training and authored more than 20 works on ballet. In the same year, he was recognized as the best dancer and choreographer in France and was awarded the ‘Golden Shoe’. In 1957, he became the founder and rector of the Paris University of Dance. The author emphasizes that Lifar’s creative heritage is huge. He choreographed more than 200 ballets and wrote 25 books on dance theory. Serge Lifar trained 11 ballet stars. Serge Lifar’s style, which he called choreographic neoromanticism, determined the ways of development of the European ballet art of the second half of the 20th century. At the age of 65, Lifar showed his talent as a visual artist. His heritage includes more than a hundred original paintings and drawings, the main plot of which is ballet, dance, and movement. In 1972–1975, exhibitions of his works were held in Cannes, Paris, Monte Carlo and Venice. His yet another passion was books. It all began with Serhii Diahiliev’s personal archive, which included a collection of theatrical paintings, scenery and a library. Lifar bought it from the French government for a one year’s salary at the Grand Opera. In the USSR, Lifar’s name was concealed. Only in 1961, did he and his wife visit it for the first time as the Soviet authorities did not allow him to stage any ballet in the USSR. He always felt he was Ukrainian and ardently promoted the history and culture of his people. In honour of the outstanding countryman, the Serge Lifar International Ballet Competition and the festival ‘Serge Lifar de La dance’ have been held since 1994 and 1995, accordingly. Keywords: cultural diplomacy, art of artistic vision of choreography, Serge Lifar International Ballet Competition.
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Halberg, F., G. Cornélissen, K. H. Bernhardt, M. Sampson, O. Schwartzkopff, and D. Sonntag. "Egeson's (George's) transtridecadal weather cycling and sunspots." History of Geo- and Space Sciences 1, no. 2 (September 1, 2010): 49–61. http://dx.doi.org/10.5194/hgss-1-49-2010.
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Abstract. In the late 19th century, Charles Egeson, a map compiler at the Sydney Observatory, carried out some of the earliest research on climatic cycles, linking them to about 33-year cycles in solar activity, and predicted that a devastating drought would strike Australia at the turn of the 20th century. Eduard Brückner and William J. S. Lockyer, who, like Egeson, found similar cycles, with notable exceptions, are also, like the map compiler, mostly forgotten. But the transtridecadal cycles are important in human physiology, economics and other affairs and are particularly pertinent to ongoing discusions of climate change. Egeson's publication of daily weather reports preceded those officially recorded. Their publication led to clashes with his superiors and his personal life was marked by run-ins with the law and, possibly, an implied, but not proven, confinement in an insane asylum and premature death. We here track what little is known of Egeson's life and of his bucking of the conventional scientific wisdom of his time with tragic results.
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Walters, David, and Michael Quinlan. "Voice and resistance: Coalminers’ struggles to represent their health and safety interests in Australia and New Zealand 1871–1925." Economic and Labour Relations Review 30, no. 4 (September 26, 2019): 513–31. http://dx.doi.org/10.1177/1035304619877588.
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The activism of coalmining unions in Australia, the UK, the USA and elsewhere securing improvements in safety including better legislation in the 19th and 20th centuries, has been widely researched and acknowledged. However, a relatively neglected aspect of this history was a campaign to secure worker inspectors (check-inspectors). These began in coalmining a century before similar measures were introduced for workers more generally as part of overhauling occupational health and safety laws in the 1970s/1980s. We document this struggle for mine safety in Australia and New Zealand, and the activities of check-inspectors in the period to 1925. Notwithstanding strong opposition from coal-owners and conservative governments, check-inspectors played an important role in safeguarding coalminers and improving the regulatory oversight of coalmines. Check-inspectors not only gave coalminers a ‘voice’ in OHS, but they also provided an exemplar of the value and legitimacy of worker’s ‘knowledge activism’. This system remains. Furthermore, the struggle is relevant to understanding contemporary debates about collective worker involvement in occupational health and safety. JEL Codes: J28, J51, J81
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Spanier, Ehud, Kari L. Lavalli, Jason S. Goldstein, Johan C. Groeneveld, Gareth L. Jordaan, Clive M. Jones, Bruce F. Phillips, et al. "A concise review of lobster utilization by worldwide human populations from prehistory to the modern era." ICES Journal of Marine Science 72, suppl_1 (May 7, 2015): i7—i21. http://dx.doi.org/10.1093/icesjms/fsv066.
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Abstract Lobsters are important resources throughout the world's oceans, providing food security, employment, and a trading commodity. Whereas marine biologists generally focus on modern impacts of fisheries, here we explore the deep history of lobster exploitation by prehistorical humans and ancient civilizations, through the first half of the 20th century. Evidence of lobster use comprises midden remains, artwork, artefacts, writings about lobsters, and written sources describing the fishing practices of indigenous peoples. Evidence from archaeological dig sites is potentially biased because lobster shells are relatively thin and easily degraded in most midden soils; in some cases, they may have been used as fertilizer for crops instead of being dumped in middens. Lobsters were a valuable food and economic resource for early coastal peoples, and ancient Greek and Roman Mediterranean civilizations amassed considerable knowledge of their biology and fisheries. Before European contact, lobsters were utilized by indigenous societies in the Americas, southern Africa, Australia, and New Zealand at seemingly sustainable levels, even while other fish and molluscan species may have been overfished. All written records suggest that coastal lobster populations were dense, even in the presence of abundant and large groundfish predators, and that lobsters were much larger than at present. Lobsters gained a reputation as “food for the poor” in 17th and 18th century Europe and parts of North America, but became a fashionable seafood commodity during the mid-19th century. High demand led to intensified fishing effort with improved fishing gear and boats, and advances in preservation and long-distance transport. By the early 20th century, coastal stocks were overfished in many places and average lobster size was significantly reduced. With overfishing came attempts to regulate fisheries, which have varied over time and have met with limited success.
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Rasmussen, Leah. "Curating Russia: The Shchukin Collection, Nationalism, and Border Crossing from Lenin to Putin." Canadian Journal of European and Russian Studies 15, no. 1 (September 20, 2022): 43–60. http://dx.doi.org/10.22215/cjers.v15i1.3288.
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Russia’s relationship with nation is marred by contradictions that stem from its place in comparison to the West. Cultural nationalism in artistic production originated with the arrival of the Peredvizhniki [Wanderers] in the 1870s. Moscow merchant Pavel Tretyakov, in collecting Russian and European art, openly embraced a nation that encompassed Western ideas in conjunction with distinctly Russian themes. The unparalleled collecting of French modern art by Moscow merchants Sergei Shchukin and Ivan Morozov in the early 20th century continued this embrace. The nature of their collected paintings produced shockwaves in late tsarist and Soviet society and politics before being inculcated into Russian national identity in the 21st century. This article explores the life of Henri Matisse’s The Dance (1909), commissioned by Sergei Shchukin. It follows the work across time and regimes as it assumes pride of place in not only Russia’s national collections but also within its identity. Through a focus on the 2008 exhibition From Russia at the Royal Academy of Arts in London, this article examines Russia’s relations and protection of this work to understand, why even as the country seeks to define itself once more actively through its opposition to the West, their cultural diplomacy speaks to an openness built on a transnational history of the most prized works in their national collections.
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Wilson, Pat H. "Singing Our Songs: Celebrating Australian Music Theatre repertoire." Australian Voice 22 (2021): 9–15. http://dx.doi.org/10.56307/bxzp3343.
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Although live theatrical performances combining music, spoken dialogue, songs, acting and dance have existed since ancient times, modern Western musical theatre (colloquially, “musicals”) emerged in the 19th century. There is an increasing interest in analysing, understanding and researching American musicals. British and European music theatre is also gathering a stronger profile academically. However, it is less well-known that Australia has a large and richly varied music theatre history. Singing teachers, vocal coaches and singers working in music theatre constantly seek to expand repertoire, especially solo material suitable for use in auditions. Lack of research attention and a dearth of readily available published scores have resulted in few performances of solo songs from the growing canon of Australian music theatre. A serious investigation, interrogating suitability and availability of the scores of Australian music theatre works, is long overdue. This paper seeks, in some small way, to commence the process.
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Peel, Margaret M. "Epidemic poliomyelitis, post-poliomyelitis sequelae and the eradication program." Microbiology Australia 41, no. 4 (2020): 196. http://dx.doi.org/10.1071/ma20053.
Full textAbstract:
Epidemics of paralytic poliomyelitis (polio) first emerged in the late 19th and early 20th centuries in the United States and the Scandinavian countries. They continued through the first half of the 20th century becoming global. A major epidemic occurred in Australia in 1951 but significant outbreaks were reported from the late 1930s to 1954. The poliovirus is an enterovirus that is usually transmitted by the faecal–oral route but only one in about 150 infections results in paralysis when the central nervous system is invaded. The Salk inactivated polio vaccine (IPV) became available in Australia in 1956 and the Sabin live attenuated oral polio vaccine (OPV) was introduced in 1966. After decades of stability, many survivors of the earlier epidemics experience late-onset sequelae including post-polio syndrome. The World Health Organization launched the global polio eradication initiative (GPEI) in 1988 based on the easily administered OPV. The GPEI has resulted in a dramatic decrease in cases of wild polio so that only Pakistan and Afghanistan report such cases in 2020. However, a major challenge to eradication is the reversion of OPV to neurovirulent mutants resulting in circulating vaccine-derived poliovirus (cVDPV). A novel, genetically stabilised OPV has been developed recently to stop the emergence and spread of cVDPV and OPV is being replaced by IPV in immunisation programs worldwide. Eradication of poliomyelitis is near to achievement and the expectation is that poliomyelitis will join smallpox as dreaded epidemic diseases of the past that will be consigned to history.
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Peel, Margaret M. "Corrigendum to: Epidemic poliomyelitis, post-poliomyelitis sequelae and the eradication program." Microbiology Australia 41, no. 4 (2020): 223. http://dx.doi.org/10.1071/ma20053_co.
Full textAbstract:
Epidemics of paralytic poliomyelitis (polio) first emerged in the late 19th and early 20th centuries in the United States and the Scandinavian countries. They continued through the first half of the 20th century becoming global. A major epidemic occurred in Australia in 1951 but significant outbreaks were reported from the late 1930s to 1954. The poliovirus is an enterovirus that is usually transmitted by the faecal–oral route but only one in about 150 infections results in paralysis when the central nervous system is invaded. The Salk inactivated polio vaccine (IPV) became available in Australia in 1956 and the Sabin live attenuated oral polio vaccine (OPV) was introduced in 1966. After decades of stability, many survivors of the earlier epidemics experience late-onset sequelae including post-polio syndrome. The World Health Organization launched the global polio eradication initiative (GPEI) in 1988 based on the easily administered OPV. The GPEI has resulted in a dramatic decrease in cases of wild polio so that only Pakistan and Afghanistan report such cases in 2020. However, a major challenge to eradication is the reversion of OPV to neurovirulent mutants resulting in circulating vaccine-derived poliovirus (cVDPV). A novel, genetically stabilised OPV has been developed recently to stop the emergence and spread of cVDPV and OPV is being replaced by IPV in immunisation programs worldwide. Eradication of poliomyelitis is near to achievement and the expectation is that poliomyelitis will join smallpox as dreaded epidemic diseases of the past that will be consigned to history.
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Steklova, Irina A., and Olesya I. Raguzhina. "SCULPTURE PARKS OF THE XX CENTURY LAST THIRD – THE XXI CENTURY BEGINNING: TYPOLOGY EXPERIENCE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 80–94. http://dx.doi.org/10.17223/22220836/41/7.
Full textAbstract:
The purpose of this article is to present sculpture parks at the modern stage of development, from the last third of the 20th century to our day. The relevance of this purpose is due to the relevance of these parks, which meets, firstly, on the challenges of culture, reproducing itself in the synthesis of landscape and monumental-decorative arts; secondly, on the demands of the population in artistically interpreted natural spaces; thirdly, on the life-building claims of modern art, which is looking for optimal ways of self-presentation. The representation of the sculpture parks is implied their systematization, which, in the course of the factual and visual material analysis, exhibits the most typical trends of formal and informative diversity and takes the form of a typology. To start building a typology, it was necessary to draw up a rather broad and spacious representative sample of objects and to select reference criteria in the trends of the manifold. Thus, a representative sample was made up of 90 Europe, Asia, Africa, Australia, and North and South America brightest objects, and following criteria were put forward: environmental involvement, authorship, the nature of specific forms and links between them. Typology showed that approximately two thirds of the sculpture parks are a product of the natural environment and one third of the architectural environment. In the natural environment, in authentic natural spaces, these are co-author full (independent and contextual) and special (by place, material, style, theme) formats, as well as mono-author formats. In an architectural environment, in integrated or interpreted natural spaces, these are, first of all, city formats that can be both co-authors and mono-authors: destinations, stops, transit zones. The implementation of the typology was facilitated by the attraction of a new material for the national art history. In the scientific circulation were introduced information about objects that were not mentioned before and unknown artists. Accounting for this information, along with known realities, allowed us to reach a higher understanding level of sculpture parks as a modern hypostasis of artistic synthesis.