Journal articles: 'Photographers Victoria'

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Whitehead, Christopher. "Henry Cole’s European Travels and the Building of the South Kensington Museum in the 1850s." Architectural History 48 (2005): 207–34. http://dx.doi.org/10.1017/s0066622x00003786.

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In January 1859, Henry Cole, the first Director of the South Kensington Museum (from 1899 known as the Victoria and Albert Museum) was in Rome, commissioning the photographer Pietro Dovizielli to produce photographs of buildings in the capital which Cole considered ‘suggestive’ and ‘picturesque’.

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Hoffman, Jesse. "ARTHUR HALLAM’S SPIRIT PHOTOGRAPH AND TENNYSON’S ELEGIAC TRACE." Victorian Literature and Culture 42, no. 4 (September 19, 2014): 611–36. http://dx.doi.org/10.1017/s1060150314000229.

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Blanche Warre Cornish's 1921–22tripartite memoir, “Memories of Tennyson,” begins in 1869 when she meets the poet by way of her parents’ friendship with Tennyson's neighbor, the photographer Julia Margaret Cameron (145) (Figure 1). The photograph that Cornish recalls as “psychophotography” is one instance of a trend in Victorian England of spirit photography that was first practiced around 1872 after it was imported from America, where William Mumler had developed it (Tucker 68; Doyle 2: 128). Reactions to these spirit photographs took various forms: while some viewers regarded them as a credible medium for communication with the dead, their detractors saw them as deliberate acts of deception. Others employed photography's spectral qualities for entertainment, such as the London Stereoscopic Company that had marketed photographs of angels, fairies, and ghosts for their customers’ amusement in the 1860s (Chéroux 45–53). By the time the “shadowy figure of a man” appears beside Arthur Hallam's erstwhile fiancé, Mrs. Jesse, Tennyson's sister, the practice had been subject to public intrigue and scandal as a part of broader and contentious Victorian debates about the status of photography as art or document. The already surreal qualities of Cornish's anecdote are amplified by Tennyson's question, “Is that Arthur?,” which entertains the possibility of Hallam being present in a visible, spectral form while unrecognized by his beloved friend.

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Henderson, Andrea. "Magic Mirrors: Formalist Realism in Victorian Physics and Photography." Representations 117, no. 1 (2012): 120–50. http://dx.doi.org/10.1525/rep.2012.117.1.120.

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This essay argues that British photography of the 1850s and ’60s wedded realism—understood as a commitment to descriptive truthfulness—with formalism, or a belief in the defining power of structural relationships. Photographers at midcentury understood the realistic character of photography to be grounded in more than fidelity to detail; the technical properties of the medium accorded perfectly with the claims of contemporary physicists that reality itself was constituted by spatial arrangements and polar forces rather than essential categorical distinctions. The photographs of Clementina, Lady Hawarden exemplify this formalist realism, dramatizing the power of the formal logic of photography not only to represent the real but to reveal its fundamentally formal nature.

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Korda, Andrea, and Vanessa Warne. "Introduction: Victorian Photographs." Victorian Review 48, no. 1 (March 2022): 1–2. http://dx.doi.org/10.1353/vcr.2022.0013.

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Mattison, David. "Richard Maynard: Photographer of Victoria, B.C." History of Photography 9, no. 2 (April 1985): 109–29. http://dx.doi.org/10.1080/03087298.1985.10442269.

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Dodds, Douglas, and Ella Ravilious. "The Factory Project: digitisation at the Victoria and Albert Museum." Art Libraries Journal 34, no. 2 (2009): 10–16. http://dx.doi.org/10.1017/s0307472200015820.

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The Victoria and Albert Museum’s Word and Image Department holds an estimated 750,000 prints, drawings, paintings and photographs. Recent acquisitions have been catalogued using the Museum’s Collections Information System, but the vast majority of earlier acquisitions are still only described in a wide range of card indexes and printed catalogues. The indexes have been scanned, but the Museum now needs to complete the transfer of the catalogue records to its online system. The ‘Factory’ digitisation project was established in November 2007, with the intention of digitising the Department’s entire holdings and making them available online. Some 15,000 objects have been photographed in the first year, and cataloguing is also under way. The digital images and catalogue descriptions will be made available online via the Museum’s website as the project proceeds.

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Darragh, Thomas A. "William Blandowski: A frustrated life." Proceedings of the Royal Society of Victoria 121, no. 1 (2009): 11. http://dx.doi.org/10.1071/rs09011.

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When Johann Wilhelm Theodor Ludwig von Blandowski (1822-1878), was appointed Government Zoologist on 1 March 1854, Victoria gained a scientist, who had attended Tarnowitz Mining School and science lectures at Berlin University. He had been an assistant manager in part of the Koenigsgrube coal mine at Koenigshütte, but as a consequence of some kind of misdemeanour, resigned from the Prussian Mining Service and joined the Schleswig-Holstein Army in March 1848. After resigning his Lieutenant’s commission and trying unsuccessfully to obtain another appointment in the Prussian Mining Service, he left for Adelaide in May 1849 as a collector of natural history specimens. After some collecting expeditions and earning a living as a surveyor he moved to the Victorian goldfields. He undertook official expeditions in Central Victoria, Mornington Peninsula and Western Port and in December 1856 he was leader of the Murray-Darling Expedition, but control of the Museum passed to Frederick McCoy with Blandowski relegated to the position of Museum Collector. Feted on his return from the Expedition, he fell out with some members of the Royal Society of Victoria over somewhat puerile descriptions of new species of fishes and he also refused to recognise McCoy’s jurisdiction over him. After acrimonious arguments about collections and ownership of drawings made whilst he was a government officer, Blandowski resigned and left for Germany, where he set up as a photographer in Gleiwitz in 1861, but some kind of mental instability saw him committed to the mental asylum at Bunzlau (now Boleslawiec, Poland) in September 1873, where he died on 18 December 1878. Assessments of Blandowki’s scientific and artistic career in Australia have been mixed. The biographical details presented provide the opportunity to judge assessments of Blandowski in Australia against his actions both before and after his arrival there.

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Bell, Amy. "“We were having a lot of fun at the photographers”." Ontario History 107, no. 2 (July 24, 2018): 240–61. http://dx.doi.org/10.7202/1050637ar.

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This article uses the photographic examples from a small female college to explore the use of photography as a social practice in late Victorian female colleges. It argues that photographs of students worked as both frames and surfaces: framing the visual details of their daily lives, while simultaneously allowing them a surface on which to fashion self-portraits. The photographs of Hellmuth Ladies’ College demonstrate the multiple arenas of late Victorian educational experience, the idealistic and aesthetic links between female educational institutions in the circum-Atlantic World, and the importance of school photographs to Canada’s photographic history.

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Denny, Margaret. "Catharine Weed Barnes Ward: Advocate for Victorian Women Photographers." History of Photography 36, no. 2 (May 2012): 156–71. http://dx.doi.org/10.1080/03087298.2012.654938.

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Welford, S. F. W. "B. J. Edwards, Victorian photographer, inventor and entrepreneur." History of Photography 13, no. 2 (April 1989): 157–63. http://dx.doi.org/10.1080/03087298.1989.10442185.

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Banerjee, Sandeep. "“NOT ALTOGETHER UNPICTURESQUE”: SAMUEL BOURNE AND THE LANDSCAPING OF THE VICTORIAN HIMALAYA." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 351–68. http://dx.doi.org/10.1017/s1060150314000035.

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During his third expedition into the higher Himalaya in 1866, the most ambitious of his three journeys into the mountains, Samuel Bourne trekked to the Gangotri glacier, the source of the Ganges. At that site he took “two or three negatives of this holy and not altogether unpicturesque object,” the first photographs ever made of the glacier and the ice cave called Gomukh, meaning the cow's mouth, from which the river emerges (Bourne 96). These words of Victorian India's pre-eminent landscape photographer, importantly, highlight the coming together of the picturesque mode and the landscape form through the medium of photography. In this essay, I focus on Samuel Bourne's images of the Himalaya, produced between 1863 and 1870, to query the ideological power of this triangulation to produce a specific image of the mountains in late nineteenth-century Victorian India. Situating Bourne's images in relation to contemporaneous material practices of the British within the space of the Himalaya, namely, the establishment of hill stations as picturesque locales in the higher altitudes of the Indian subcontinent, I argue that the landscape form, the picturesque mode, and the photographic medium, inflect each other to tame the sublimity of the mountains by representing them as similar to the Alps.

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Lodge, Martin. "New Zealand Jazz Life, Norman Meehan and Tony Whincup (photographs) (2016)." Journal of New Zealand & Pacific Studies 8, no. 1 (May 1, 2020): 141–42. http://dx.doi.org/10.1386/nzps_00033_5.

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Noakes, Richard. "Cromwell Varley FRS, electrical discharge and Victorian spiritualism." Notes and Records of the Royal Society 61, no. 1 (December 18, 2006): 5–21. http://dx.doi.org/10.1098/rsnr.2006.0161.

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Cromwell Fleetwood Varley is chiefly remembered as a leading Victorian electrical engineer who was closely involved in the testing and laying of the successful transatlantic telegraph cables of the 1860s. Historians of physics principally regard him as a key figure in the ‘prehistory’ of the electron because in 1871 the Proceedings of the Royal Society published a paper in which he seemed to anticipate the corpuscular nature of cathode rays. For many Victorians, however, Varley was as notable for his spiritualism as for his electrical researches. This paper argues that for Varley spiritualism was one of the most significant contexts of use for the 1871 paper. The latter work sought explicitly to unravel the mystery of the electrical discharge through rarefied gases but also showed the hazy boundary between the invisible and visible and material and immaterial domains. This suggested that one of the invisible powers associated with spiritualism—the ‘od’ force—might be photographed and rendered scientifically more credible, and also made it easier to understand how imponderable spirits could have apparently material attributes. Although the physical implications of Varley's 1871 publication were not explored until the 1890s, Varley's ‘spiritualistic’ uses of it shaped the way in which some late-Victorian scientists investigated the puzzling phenomena of psychical research.

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Brueggemeier, Jan. "Nature in the Dark - Public Space for More-than-Human Encounters." Animal Studies Journal 10, no. 2 (2021): 19–45. http://dx.doi.org/10.14453/asj.v10i2.2.

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Drawing on the continuing work of the Nature in the Dark (NITD) project, an art collaboration and publicity campaign between the Centre for Creative Arts (La Trobe University) and the Victorian National Parks Association (VNPA), this paper aims to explore some of the disciplinary crossovers between art, science and philosophy as encountered by this project and to think about their implications for an environmental ethics more generally. Showcasing animal life from Victoria, Australia, the NITD video series I and II invited international artists to create video works inspired by ecological habitat surveys from the Victorian National Parks land and water. Videos and photographs originally used to identify animals and population sizes are now creatively repurposed and presented to new audiences. NITD negotiate ‘the distribution of the sensible’ (Rancière), as they mark the domain of what is accessible to the public. This paper relates the discussion in the contemporary arts about the politics of aesthetics with the ethical conundrum of how we might care about something that is beyond our reach and we are not yet aware of, given our own perceptual blind spots. Drawing on a conversation between the philosopher Georgina Butterfield and myself as an artist and curator, this paper argues that we cannot justify setting arbitrary limits on our valuing, questioning or understanding of the non-human world, and as such it is a position both the philosopher and artist share. While it may be an ultimately unreachable goal, it is paradoxically an essential starting point for ecological ethics.

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Groth, Helen. "TECHNOLOGICAL MEDIATIONS AND THE PUBLIC SPHERE: ROGER FENTON’S CRIMEA EXHIBITION AND “THE CHARGE OF THE LIGHT BRIGADE”." Victorian Literature and Culture 30, no. 2 (August 27, 2002): 553–70. http://dx.doi.org/10.1017/s1060150302302092h.

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AT THE GALLERY OF THE SOCIETY OF PAINTERS in Water Colours in Pall Mall East in the autumn of 1855, Roger Fenton exhibited three hundred and twelve photographs taken in the Crimea. Undertaken with the patronage of Queen Victoria, Prince Albert, and the Duke of Newcastle, the then Secretary of State for War, Fenton’s photographic record was intended to inform the Victorian public of the “true” condition of the soldiers in what was fast becoming an unpopular war. In the catalogue, one photograph bore the title “The Valley of the Shadow of Death,” a title with both biblical and literary resonances for exhibition audiences in late 1855.1 Tennyson’s “The Charge of the Light Brigade” had been published in the Examiner on 9 December 1854, causing a sensation both at home and in the Crimea.2 Organized around variations on the refrain “Into the valley of Death / Rode the six hundred,” the poem assumed anthem-like status during the period when Fenton was in the Crimea. Filtered through the lens of Tennyson’s poem, Fenton’s photograph appears to record the traces of a charge or a battle scene that has just taken place.

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Teukolsky, Rachel. "Victorian erotic photographs and the intimate public sphere." Nineteenth-Century Contexts 42, no. 2 (March 2, 2020): 201–19. http://dx.doi.org/10.1080/08905495.2020.1733321.

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Haran, B. "Homeless Houses: Classifying Walker Evans's Photographs of Victorian Architecture." Oxford Art Journal 33, no. 2 (June 1, 2010): 189–210. http://dx.doi.org/10.1093/oxartj/kcq015.

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Garland, Liz. "Making Victorian Costumes for Men, Sil Devilly (2019)." Studies in Costume & Performance 5, no. 2 (December 1, 2020): 276–78. http://dx.doi.org/10.1386/scp_00030_5.

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Casson, Rebecca. "Gas, grass or ass, no one rides for free: the mohawk mayor." Persona Studies 2, no. 2 (December 7, 2016): 42–56. http://dx.doi.org/10.21153/ps2016vol2no2art600.

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In November 2013 Darryn Lyons, a former celebrity photographer well-known for his colourful antics, was directly elected as mayor of Geelong, the second largest city in the State of Victoria, Australia. Also known as “Mr Paparazzi” and “The Mohawk Mayor”, Lyons’s leadership lasted just 30 months before the Victorian State Government sacked him and dissolved the entire Geelong Council, revealing a pre-existing culture of bullying that appeared to be compounded by Lyons’s celebrity persona. How did Lyons’s persona affect Geelong’s newly established procedures for a directly elected mayor? Drawing on one particularly controversial incident, and using data collected from Lyons’s autobiography, together with media articles, official documents and social media, this article discusses how - as a celebrity politician - Lyons appeared to be unable to effectively separate his celebrity persona from his public persona. This seemed to drown out Geelong’s important issues, and undermined the legitimacy of local government. The current literature on directly elected mayors does not include consideration of how electing a celebrity as mayor complicates the problems of legitimacy in local government, and there is a paucity of literature on directly elected celebrity mayors in Australia. An emerging literature on directly elected mayors primarily addresses problems with legitimacy in contemporary politics, while the literature on celebrity politics changing legitimacy has been well established. Using the Lyons case, this article examines both literatures and contributes to the national and international debate on directly elected celebrity mayors.

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Foote, Kenneth E. "Relics of old London: Photographs of a changing Victorian City." History of Photography 11, no. 2 (April 1987): 133–53. http://dx.doi.org/10.1080/03087298.1987.10443781.

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Sutton, James. "Photographs of the 1915 Meštrović exhibition at the Victoria and Albert Museum." Sculpture Journal 25, no. 2 (January 2016): 263–68. http://dx.doi.org/10.3828/sj.2016.25.2.10.

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Denny, Margaret. "Royals, Royalties and Remuneration: American and British women photographers in the Victorian era." Women's History Review 18, no. 5 (November 2009): 801–18. http://dx.doi.org/10.1080/09612020903282183.

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Paradis, James G. "PHOTOGRAPHY AND IRONY: THE SAMUEL BUTLER PHOTOGRAPHY EXHIBITION AT THE TATE BRITAIN." Victorian Literature and Culture 33, no. 1 (March 2005): 318–22. http://dx.doi.org/10.1017/s1060150305230863.

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AN EXHIBITION of Samuel Butler's photography in Gallery Sixteen, an elegant rotunda room just off the entrance to the Tate Britain, offered a rare opportunity to see some of the photography of the author of Erewhon and to contemplate how Victorian photographic realism fares in the setting of a modern museum. The exhibition, celebrating the centenary of Butler's death, ran from November 2002 to May 2003 and was made up of thirty-five framed photographs, some of them digitally touched up by Dudley Simons, and an assortment of photobooks and editions of Butler's self-illustrated volumes. It was developed by Tate curator Richard Humphreys and Butler scholar Elinor Shaffer, with the support of librarian Mark Nicholls from St. John's College at Cambridge, which houses most of Butler's extensive photographic work in its special collections. Titled “Samuel Butler and the Ignorant Eye,” after Shaffer's notion in her Erewhons of the Eye: Samuel Butler as Painter, Photographer, and Art Critic (1988) that Butler's photography renders “the eye of the viewer … ignorant and open” (229), the black-and-white secularism of Butler's work offered a startling change in imagery from the intense colorism of “Rossetti and Medievalism,” the exhibit that preceded it in Gallery sixteen.

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Finley, James K., and Suzanne Huot. "Interspecific Mate Choice and Hybridism in the Bufflehead, Bucephala albeola." Canadian Field-Naturalist 124, no. 1 (January 1, 2010): 28. http://dx.doi.org/10.22621/cfn.v124i1.1026.

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Observations of a male Bufflehead (Bucephela albeola) paired with a female Common Goldeneye (Bucephela clangula) in northern Alberta in 1995 and of a hybrid male Common Goldeneye × Bufflehead photographed near Victoria, British Columbia, in March 2009 provide the first combined evidence of interspecific mate choice and out-crossing in Bucephala albeola. Since 1999, there have been at least 10 unofficial records, including photographs, of Common Goldeneye × Bufflehead hybrids posted on the Internet, as well as 6 records of hybridization with Hooded Mergansers (Lophodytes cucullatus). In all cases, where evident in Common Goldeneye × Buffleheads, gold eyes and pink feet were expressed and social affiliation was with Common Goldeneyes, suggesting matrilineage with that species. Because most attention is given to the hybrid - and to male hybrids at that - rather than to the progenitors, the theory of mate attraction, through sexual imprinting of males, is biased toward the paternal viewpoint. It appears that there is more plasticity in mate choice, particularly by the female. The opportunity to observe mate choice is much rarer than the hybrid outcome, while the odds of the latter have increased many fold in the last decade due to advances in Internet communication and digital photography. This exercise illustrates the ability of the Internet to amplify the prevalence of rare phenomena many fold over historical records.

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Houston, Natalie M. "Reading the Victorian Souvenir: Sonnets and Photographs of the Crimean War." Yale Journal of Criticism 14, no. 2 (2001): 353–83. http://dx.doi.org/10.1353/yale.2001.0025.

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Nair, Janaki. "Seeing like the Missionary: An Iconography of Education in Mysore, 1840–1920." Studies in History 35, no. 2 (August 2019): 178–217. http://dx.doi.org/10.1177/0257643019865233.

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Missionaries working in Mysore, as elsewhere in India, took enthusiastically to the new art of photography from the 1840s, to record their ‘views’ of the society they undertook to transform. Evangelising was, however, early on, allied with education as a way for missionaries to make their way into a complex, hierarchical society with learning traditions of its own. How did the missionary ‘see’ the Indian classroom, and invite the viewer of their photographs to participate in its narrative of ‘improvement’? What was the place of the photograph at a time when meticulous written records were kept of victories and reverses in the mission field of education? Revealing the work of the photograph in aiding missionary work must perforce begin with the more instrumentalist uses of this new art, as technologies of recording par excellence, before turning to the possible ways of looking at photographs, whether by those contemporaries of the missionaries who were physically distanced from the location, and were yet linked to their work in India, or when they formed part of the contemporary historian’s archive. Here one may exploit photography’s ‘inexhaustible invitations to deduction, speculation and fantasy’ instead of its truth-telling capacity. I am precisely posing a dynamic and perhaps even antagonistic relationship between the copious written and the sparser visual record of educational changes in Mysore in the 19th and early 20th centuries. This investigation of the visual field in the service of education also allows us also to speculate about the specific aesthetic achievements of missionary photography, with its own pedagogic goals.

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Anwer. "Murder in Black and White: Victorian Crime Scenes and the Ripper Photographs." Victorian Studies 56, no. 3 (2014): 433. http://dx.doi.org/10.2979/victorianstudies.56.3.433.

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Aguirre, Robert D. "Wide Angle: Eadweard Muybridge, the Pacific Coast, and Trans-Indigenous Representation." Victorian Literature and Culture 49, no. 1 (2021): 55–72. http://dx.doi.org/10.1017/s1060150319000597.

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Eadweard Muybridge's Pacific Coast photographs provide an important site for investigating Victorian visual practices of the “wide.” They do not simply expand a referential frame to encompass novel subjects; they also, and more critically, register powerful narratives of temporality and modernity. This essay's analysis of the “wide” as an incipient concept of critical spatiality is not set against the more familiar temporal dimension of the long nineteenth century (a false and ultimately unproductive opposition). Rather, it places these two concerns in some tension with each other, though the argument is less about periodicity than about the representation of timescales in nineteenth-century media. In Muybridge's photographs, thinking about the representational possibilities of width is impossible without also confronting temporality. The Pacific Coast photographs are important both as explorations of timescales and artifacts in an influential nineteenth-century medium and prompts to reconsider the politico-economic networks that were central to the progress of expeditionary photography itself.

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Victoriano, Malcolm. "A NEW SPECIES OF NEPENTHES (NEPENTHACEAE) AND ITS NATURAL HYBRIDS FROM ACEH, SUMATRA, INDONESIA." REINWARDTIA 20, no. 1 (July 7, 2021): 17–26. http://dx.doi.org/10.14203/reinwardtia.v20i1.3932.

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VICTORIANO, M. 2021. A new species of Nepenthes (Nepenthaceae) and its natural hybrids from Aceh, Sumatra, Indonesia. Reinwardtia 20(1): 17–26. — A new species of Nepenthes (Nepenthaceae) from Aceh Province, Indonesia, Nepenthes longiptera Victoriano is herein described and illustrated. The species is unique among all other Nepenthes in Sumatra by the presence of wings on its upper pitchers. Comprehensive description, photographs, geographical distribution and preliminary IUCN conservation assessment are provided for the new species. Hybrids of this new taxon with other species are also reported in this paper.

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Mayer, David. "“Quote the Words to Prompt the Attitudes”: The Victorian Performer, the Photographer, and the Photograph." Theatre Survey 43, no. 02 (November 2002): 223–51. http://dx.doi.org/10.1017/s0040557402000121.

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Brusius, Mirjam. "Photography’s Fits and Starts: The Search for Antiquity and its Image in Victorian Britain." History of Photography 40, no. 3 (July 2, 2016): 250–66. http://dx.doi.org/10.1080/03087298.2016.1209027.

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Saarela, Jeffery M., Paul C. Sokoloff, Lynn J. Gillespie, Roger D. Bull, Bruce A. Bennett, and Serguei Ponomarenko. "Vascular plants of Victoria Island (Northwest Territories and Nunavut, Canada): a specimen-based study of an Arctic flora." PhytoKeys 141 (March 6, 2020): 1–330. http://dx.doi.org/10.3897/phytokeys.141.48810.

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Victoria Island in Canada’s western Arctic is the eighth largest island in the world and the second largest in Canada. Here, we report the results of a floristic study of vascular plant diversity of Victoria Island. The study is based on a specimen-based dataset comprising 7031 unique collections from the island, including some 2870 new collections gathered between 2008 and 2019 by the authors and nearly 1000 specimens variously gathered by N. Polunin (in 1947), M. Oldenburg (1940s–1950s) and S. Edlund (1980s) that, until recently, were part of the unprocessed backlog of the National Herbarium of Canada and unavailable to researchers. Results are presented in an annotated checklist, including keys and distribution maps for all taxa, citation of specimens, comments on taxonomy, distribution and the history of documentation of taxa across the island, and photographs for a subset of taxa. The vascular plant flora of Victoria Island comprises 38 families, 108 genera, 272 species, and 17 additional taxa. Of the 289 taxa known on the island, 237 are recorded from the Northwest Territories portion of the island and 277 from the Nunavut part. Thirty-nine taxa are known on the island from a single collection, seven from two collections and three from three collections. Twenty-one taxa in eight families are newly recorded for the flora of Victoria Island: Artemisia tilesii, Senecio lugens, Taraxacum scopulorum (Asteraceae); Crucihimalaya bursifolia, Draba fladnizensis, D. juvenilis, D. pilosa, D. simmonsii (Brassicaceae); Carex bigelowii subsp. bigelowii, Eriophorum russeolum subsp. albidum (Cyperaceae); Anthoxanthum monticola subsp. monticola, Bromus pumpellianus, Deschampsia cespitosa subsp. cespitosa, D. sukatschewii, Festuca rubra subsp. rubra, Lolium perenne, Poa pratensis subsp. pratensis (Poaceae); Stuckenia filiformis (Potamogetonaceae); Potentilla × prostrata (Rosaceae); Galium aparine (Rubiaceae); and Salix ovalifolia var. ovalifolia (Salicaceae). Eight of these are new to the flora of the Canadian Arctic Archipelago: Senecio lugens, Draba juvenilis, D. pilosa, Anthoxanthum monticola subsp. monticola, Bromus pumpellianus, Deschampsia cespitosa subsp. cespitosa, Poa pratensis subsp. pratensis and Salix ovalifolia var. ovalifolia. One of these, Galium aparine, is newly recorded for the flora of Nunavut. Four first records for Victoria Island are introduced plants discovered in Cambridge Bay in 2017: three grasses (Festuca rubra subsp. rubra, Lolium perenne, and Poa pratensis subsp. pratensis) and Galium aparine. One taxon, Juncus arcticus subsp. arcticus, is newly recorded from the Northwest Territories. Of the general areas on Victoria Island that have been botanically explored the most, the greatest diversity of vascular plants is recorded in Ulukhaktok (194 taxa) and the next most diverse area is Cambridge Bay (183 taxa). The floristic data presented here represent a new baseline on which continued exploration of the vascular flora of Victoria Island – particularly the numerous areas of the island that remain unexplored or poorly explored botanically – will build.

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Pomeroy, Jordana. "A Grand Design: The Art of the Victoria and Albert Museum, and: Photography, An Independent Art: Photographs from the Victoria and Albert Museum 1839-1996 (review)." Victorian Studies 42, no. 3 (2000): 562–64. http://dx.doi.org/10.1353/vic.2000.0077.

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Blaikie, Andrew. "Photographic Memory, Ageing and the Life Course." Ageing and Society 14, no. 4 (December 1994): 479–97. http://dx.doi.org/10.1017/s0144686x00001872.

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ABSTRACTAlthough photographs are frequently used to illustrate discussions about ageing they have not been assessed critically as gerontological sources. This paper argues that the pictorial record since the 1840s contains many problems and possibilities. A case study of Victorian Scotland indicates the methodological pitfalls of acknowledging images at face value. Uncritical acceptance of the assumptions of modernisation theory has underlain much of the received wisdom on ageing in former times. More generally, both academics and advocates in Postwar Britain have reworked stereotypes of old age to suit their own aims. Against this, the convergence of reminiscence and a willingness to develop more interactive approaches to understanding the life course allows photographs to provide a resource for interpreting the ageing self. Nevertheless, as the examples show, difficulties again arise as the ambiguity and malleability of images all too easily enables generalised fictions to shroud the diversity of individual experience.

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Ziegler, Tim, Jessica Day, Karina Herbu, and Marie Blyth-McHale. "Efficient Digitisation of Unaccessioned Specimens in a Large Vertebrate Fossil Collection to Enhance Data Quality and Mitigate Risk." Biodiversity Information Science and Standards 2 (June 13, 2018): e26653. http://dx.doi.org/10.3897/biss.2.26653.

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The Museums Victoria (NMV) Vertebrate Palaeontology Collection holds more than 130,000 specimens, including the single largest collection of vertebrate fossils from the state of Victoria, Australia. Accessioned specimens make up around one third of the collection; however, few of the other, unaccessioned specimens have been catalogued. Vertebrate fossil accession at NMV is carried out in three stages: registration under a permanent specimen number, entry into the database software catalogue Axiell EMu, and barcode-based location tracking using a handheld device linked to an online application (http://mvwise.museum.vic.gov.au). In the past, unregistered specimens have been catalogued or location- tracked only infrequently, and the scale of legacy subcollections makes full registration an impractical goal for unaccessioned specimens. Accurate knowledge of unaccessioned specimens is essential to estimate collection size and composition, and predict future resource needs. Where such knowledge is held by staff but not documented, there is a persistent risk of dissociation or loss. Further, having accessible digital records greatly enhances data discoverability for research and exhibition users. We describe an EMu-based workflow for unaccessioned specimens in the NMV Vertebrate Palaeontology Collection, which newly documents and tracks specimens without the time burden of prior accession protocols. Minimum-data EMu catalogue records are generated from a handheld MVWISE scanner (based on Apple mobile hardware), with photographs that include the specimen along with any existing metadata or context. These records are immediately linked to trackable barcodes associated with storage locations. Subsequently, relevant taxonomic, stratigraphic or historical information can be cross-referenced to catalogue records en masse, either directly or using import functions. This metadata is accessed efficiently from within Axiell EMu via the specimen photographs, rather than requiring a subsequent physical search. The risks mitigable by this project are discussed, as are reasons commonly cited for not accessioning specimens, and dilemmas and consequences arising from the new approach. We also provide guidance on the rates of data generation, the required and recommended resources to be used, and forecast practical benefits in discovery and use for the collection.

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Bragg, Chloe E. "Book Review: Celebrating Life Customs around the World: From Baby Showers to Funerals." Reference & User Services Quarterly 58, no. 1 (October 10, 2018): 62. http://dx.doi.org/10.5860/rusq.58.1.6851.

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Victoria Williams is a freelance writer and editor with a PhD focused on European fairy tales and folklore. She has edited a variety of ABC-CLIO reference works on folklore-related topics, ranging from sports and games to human sacrifice. Celebrating Life Customs around the World: From Baby Showers to Funerals is the most recent of Williams’ works. The three-volume set consists of more than three hundred entries on rituals and customs related to specific life stages. The entries in this set are organized first by life stage, then alphabetically. The first volume focuses on birth and childhood, the second on adolescence and early adulthood, and the third on aging and death. Each entry ends with internal cross-references and further reading and includes inset color photographs, selected bibliography, and comprehensive index.

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Foreman, P. Gabrielle (Pier Gabrielle). "Reading/Photographs: Emma Dunham Kelley-Hawkins's Four Girls at Cottage City, Victoria Earle Matthews, and The Woman's Era." Legacy 24, no. 2 (2007): 248–77. http://dx.doi.org/10.1353/leg.2007.0028.

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Hainsworth, Steven, Ann C. Lawrie, Thiru Vanniasinkam, and Danilla Grando. "Metagenomics of Toenail Onychomycosis in Three Victorian Regions of Australia." Journal of Fungi 8, no. 11 (November 14, 2022): 1198. http://dx.doi.org/10.3390/jof8111198.

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Onychomycosis is a fungal disease of the nail that is found worldwide and is difficult to diagnose accurately. This study used metagenomics to investigate the microbiology of 18 clinically diagnosed mycotic nails and two normal nails for fungi and bacteria using the ITS2 and 16S loci. Four mycotic nails were from Bass Coast, six from Melbourne Metropolitan and eight from Shepparton, Victoria, Australia. The mycotic nails were photographed and metagenomically analysed. The ITS2 sequences for T. rubrum and T. interdigitale/mentagrophytes averaged over 90% of hits in 14/18 nails. The high abundance of sequences of a single dermatophyte, compared to all other fungi in a single nail, made it the most likely infecting agents (MLIA). Trichophyton rubrum and T. interdigitale/mentagrophytes were found in Bass Coast and Shepparton while only T. interdigitale/mentagrophytes was found in Melbourne. Two nails with T. interdigitale/mentagrophytes mixed with high abundance non-dermatophyte moulds (NDMs) (Aspergillus versicolor, Acremonium sclerotigenum) were also observed. The two control nails contained chiefly Fusarium oxysporum and Malassezia slooffiae. For bacteria, Staphylococcus epidermidis was in every nail and was the most abundant, including the control nails, with an overall mean rate of 66.01%. Rothia koreensis, Corynebacterium tuberculostearicum, and Brevibacterium sediminis also featured.

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Edge, Sarah. "The power to fix the gaze: Gender and class in Victorian photographs of pit‐brow women." Visual Sociology 13, no. 2 (January 1998): 37–56. http://dx.doi.org/10.1080/14725869808583793.

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McDougall, Keith L. "Aerial photographic interpretation of vegetation changes on the Bogong High Plains, Victoria, between 1936 and 1980." Australian Journal of Botany 51, no. 3 (2003): 251. http://dx.doi.org/10.1071/bt02079.

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The vegetation of two areas on the Bogong High Plains in 1936 was compared with that in 1980 by using a point sampling technique on aerial photographs. Between 1936 and 1980, the cover of closed heathland, wetland and trees (Eucalyptus pauciflora) increased but the cover of grassland decreased. No change was detected overall in the cover of open heathland. The increase in closed heathland was not due to direct conversion of grassland areas. Most change was from grassland to open heathland and from open heathland to closed heathland vegetation. The increase in wetland vegetation may have been a response to the reduction in grazing pressure since the 1930s. The greater cover of trees in 1980 was due to expansion of existing patches rather than the establishment of new patches. This may have been attributable in part to regeneration following bushfires in 1926 and 1939. The possible role of higher mean temperatures associated with global warming in the increased tree and shrub cover is worthy of further investigation.

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Ellis, John S. "Reconciling the Celt: British National Identity, Empire, and the 1911 Investiture of the Prince of Wales." Journal of British Studies 37, no. 4 (October 1998): 391–418. http://dx.doi.org/10.1086/386173.

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With the notable exception of Scotland, Queen Victoria was never very enthusiastic about her kingdoms of the “Celtic fringe.” During the sixty-four years of her reign, Victoria spent a healthy seven years in Scotland, a mere seven weeks in Ireland, and a paltry seven nights in Wales. Although there was little overt hostility, the nonconformist Welsh often felt neglected by the monarch and embittered by the queen's position as the head of the Church of England. Her Irish visits, however, were subject to more open opposition by stalwart republicans. Her visit to Dublin in 1900 was accompanied by embarrassing incidents and coercive measures to ensure the pleasant reception and safety of the monarch.The reign of King Edward VII was notable for its warmer attitude toward Wales and Ireland, but this transformation in the relationship between the monarchy and the nations of the “Celtic fringe” reached its most clear expression with the 1911 investiture of the Prince of Wales during the reign of his son, King George V. The press considered the ceremony to be more important than any other royal visit to the Celtic nations and publicized it widely in the United Kingdom and British Empire. The organizers of the event erected telegraph offices at the site of the ceremony, and the railways established special express trains running from Caernarfon to London that were equipped with darkrooms in order to send stories and photographs of the event directly to the newspapers of Fleet Street.

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Littnan, CL, and AT Mitchell. "Australian And New Zealand Fur Seals At The Skerries, Victoria: Recovery Of A Breeding Colony." Australian Mammalogy 24, no. 1 (2002): 57. http://dx.doi.org/10.1071/am02057.

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The population size of Australian fur seals Arctocephalus pusillus doriferus and New Zealand fur seals A. forsteri at The Skerries, Victoria was estimated in two consecutive breeding seasons, 1999-2000 and 2000-2001 using both mark-recapture procedures and aerial surveys. 675 and 746 A. p. doriferus pups and 37 and 47 A. forsteri pups were captured and marked in 1999-2000 and 2000-2001, respectively. Resights (1999-2000 N = 3; 2000-2001 N = 6) were conducted 2 - 3 days after marking and pup population estimates were calculated using a modified Lincoln-Petersen estimate. The arithmetic mean for A. p. doriferus pup abundance was 1,867 in the first season and 2,237 in the second. A. forsteri abundance was 75 and 78, respectively. The A. p. doriferus population is estimated to have increased an average of 19.7% (r = 0.18) between 1999 and 2000. The arithmetic mean from five counts of aerial photographs of total animals present at the colony was 1,758 in 1999-2000 and 2,965 in 2000-2001. Due to high variation between counts, aerial surveys proved to be an inconsistent and inaccurate method for estimating the population of fur seals at The Skerries.

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Wilkin, Alice, and Pranee Liamputtong. "The photovoice method: researching the experiences of Aboriginal health workers through photographs." Australian Journal of Primary Health 16, no. 3 (2010): 231. http://dx.doi.org/10.1071/py09071.

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This paper discusses the methodological framework and perspectives that were used in a larger study aiming at examining the experience of working life among female Aboriginal health care workers. Currently, the voice of Aboriginal women who work in the Australian health system has not received much attention. In comparison to other occupations and backgrounds, there is virtually no literature on Aboriginal woman health care workers despite 15% of health care and social service industry employees in Australia being Aboriginal. In this study, we selected female participants because of the fact that of these 15% of health workers in the Victorian health system, 76% of them are women. This paper outlines some of the barriers in researching Indigenous communities. These barriers were overcome in this study by framing the research in feminist theory, decolonising theory, empowerment and by employing the photovoice method. The photovoice method was used because it is relatively unobtrusive and has the capacity to be empowering. All data was extrapolated from the participants’ own narratives that were prompted by the photographs they had taken. The data produced were rich descriptions and narratives that were oral as well as visual. Finally, the article discusses the experience of using the photovoice method from the researcher and participants’ perspective.

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Edge, Sarah. "Urbanisation: Discourse class gender in mid-Victorian photographs of maids – reading the archive of Arthur J. Munby1." Critical Discourse Studies 5, no. 4 (November 2008): 303–17. http://dx.doi.org/10.1080/17405900802405197.

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Pritchard, Jane. "Archives of the Dance (24): The Alhambra Moul Collection at the Victoria and Albert Museum." Dance Research 32, no. 2 (November 2014): 233–57. http://dx.doi.org/10.3366/drs.2014.0108.

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This article in the ‘Archives of the Dance’ series looks at one specific collection held in the Theatre & Performance Collections of the Victoria and Albert Museum, London. At first glance, the Alfred Moul Collection (THM/75) appears a small collection filling only half a dozen archive boxes plus some photographs and press cuttings books. Nevertheless its content is very revealing about the management of the Alhambra Palace of Variety, Leicester Square, during the years 1901–1914, and the ballets created there. It is not exclusively a dance archive but places the work of the theatre's ballet company in the context of variety theatre and the full range of turns presented there. The collection focuses on the final decade of the fifty years from 1864 in which the Alhambra dominated the ballet-scene in London. This final period was a time of decline and competition for the ballet company. The collection reveals the management's awareness of competition and the consequent need to embrace a wide range of genres; the word ballet was used to cover all forms of theatre dance and, as the collection reveals, the wide search for new dance stars for productions; it enhances our knowledge of dance and dancers from France, Russia, America and Denmark as well as our knowledge of dance in Britain immediately before the full impact of the Russian ballet was felt.

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Turkan, Zihni, and Gaye Anil. "An important cultural heritage in the walled city historical texture of Nicosia: “Victoria street ”." Revista Amazonia Investiga 9, no. 31 (August 7, 2020): 148–58. http://dx.doi.org/10.34069/ai/2020.31.07.13.

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Victoria Street is the most important arterial street of Arabahmet Neighborhood, an important part of the walled city of Nicosia, the capital of Cyprus, which houses the historical city texture. A cultural mosaic embodied in its architectural heritage, the formation of the street texture dates back to the Byzantine period of Cyprus. Beginning in the Lusignan period with the Armenian Church still standing today, the historical street texture did not show any development during the Venetian period. The formation of texture of Victoria Street continued in the Ottoman period, and a symbol of the street and the city, ArabahmetPaşa Mosque and XIX. Century Traditional Turkish Houses have taken place in its texture. The historical street texture saw its most important formation and development process during the British period. Besides many buildings with shops on the ground floor and houses on the upper floors built during this period, concrete buildings of shops and houses, three-floor apartments built towards the end of this period contributed to the shaping of the street. The Catholic Church within the present day historical texture of the street was also built during the British period, and forms the border of the street at its south end. During the Republic of Cyprus period, which began in 1960, concrete shops and houses were built in place of buildings tumbling down, and the development of the street texture continued. However, because of the political strife between the communities in Cyprus, the demographical profile of the street changed and this historical texture was neglected. Later, some of the Traditional Turkish House style buildings were renovated with funding from the United Nations and became functional. The aim of this study is to analyze the formation and development of Victoria Street, which is an important cultural heritage within the historical texture of the walled city of Nicosia, through various historical periods, and to establish the physical and social status and its important place in the city beginning with the first construction of the street texture to the present. Information was gathered from written and visual resources for the study using a qualitative research method. The street texture was examined with a field study and photographed.

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Clark, Alison, Catherine Harvey, Louise Kenward, and Julian Porter. "More Than Souvenirs." Journeys 19, no. 2 (December 1, 2018): 82–105. http://dx.doi.org/10.3167/jys.2018.190205.

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Lady Annie Brassey (1839–1887) was a well-known Victorian travel writer who was also a collector, photographer, ethnographer, zoologist, and botanist and who traveled around the world aboard the privately owned yacht the Sunbeam. During these voyages she amassed a collection of approximately six thousand objects. Much more than tourist souvenirs, the collection shows a rigorous academic understanding of the disciplines she was collecting within. The ethnographic material, which makes up one-third of the collection, has gained little attention. Using her travel writing as a primary source, this article will interrogate Brassey’s role as the maker of this collection, someone whose class allowed her to travel and to pursue museum collection, curation, and education to a near-professional level. Through three case studies this article will consider how she collected and curated her own museum and used her collection for public benefit.

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David, Alison Matthews. "ELEGANT AMAZONS: VICTORIAN RIDING HABITS AND THE FASHIONABLE HORSEWOMAN." Victorian Literature and Culture 30, no. 1 (March 2002): 179–210. http://dx.doi.org/10.1017/s1060150302301098.

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There is a delightful feeling when you are well mounted, that those who are casting admiring glances at your horse, will find your dress and “get-up” just as perfect in their way.— Mrs. Alice Hayes, The Horsewoman, 1893At no time are the beauties of the female form divine displayed with such witching grace, the faultless flowing lines so attractively posed, the tout ensemble so thoroughly patrician. But if there be one blot in the fair picture, the charm at once vanishes.— E. Kerr, Riding for Ladies, 1895THE VICTORIAN SIDESADDLE RIDING HABIT was a paradoxical garment. It was a fashionable anti-fashion statement, masculine and feminine, practical yet alluring. While on horseback, the fair equestrian shunned the lace, frills, and furbelows worn by her pedestrian sisters. Even when the bell-like silhouette produced by the crinoline skirt was at its greatest width, the essence of the horsewoman’s garb was a lean, understated, and almost masculine simplicity. She represented the epitome of cultivated elegance and cut a fine figure in her tailored habit and silk top hat. Clad in her severe attire, the horsewoman became a center of visual attention in Victorian England. Though she graced fewer pages than the traditional fashion plate, she put her stamp on paintings, photographs, and caricatures. Preceded by showy, colorful riding costumes and superseded by breeches, caught between the demands of Victorian femininity and rising feminism, the riding habit and the women who wore it were typical of and unique to their era. The modern horsewoman represents a turning point in the history of female dress. She adopted the first sports costume specifically designed for women and opened the way for the invention of other athletic garments like the bicycling suit. The riding habit’s combination of style and practicality launched the fashion for more gender-neutral, utilitarian garments and heralded the advent of the twentieth-century working woman’s uniform: the tailored suit.

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Pomeroy, Jordana. "BOOK REVIEW: Malcolm Baker and Brenda Richardson.A GRAND DESIGN: THE ART OF THE VICTORIA AND ALBERT MUSEUM.and Mark Haworth-Booth.PHOTOGRAPHY: AN INDEPENDENT ART: PHOTOGRAPHS FROM THE VICTORIA AND ALBERT MUSEUM 1839-1996." Victorian Studies 42, no. 3 (April 1999): 562–64. http://dx.doi.org/10.2979/vic.1999.42.3.562.

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Monjour, Servanne. "La victoire du lobby gallinacé, ou les enjeux de la révolution numérique dans l’oeuvre photofictionnelle de Joan Fontcuberta." Aletria: Revista de Estudos de Literatura 24, no. 2 (August 30, 2014): 221–30. http://dx.doi.org/10.17851/2317-2096.24.2.221-230.

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Face à l’émergence de la culture numérique, le marché de l’image subit depuis plusieurs années une série de mutations: obsolescence de l’argentique, difficultés des services fotos de la presse écrite. Quel écho donnent les artistes, photographes ou écrivains, à cet état de crise avant tout économique du fait photographique? Assisterait-on vraiment à la mort du photographique? Cet article propose de mesurer l’impact de la révolution numérique à travers le prisme des photofictions de Joan Fontcuberta. Rejetant aussi bien les interprétations téléologiques qu’apocalyptiques de cette transition technologique, Joan Fontcuberta prend acte d’une désindexation du fait photographique, et signe une oeuvre résolument photolittéraire.

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Journal articles on the topic 'Photographers Victoria'

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