Journal articles on the topic 'Prints, Australian 20th century'
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1
Krever, Richard, and Kerrie Sadiq. "Non-Residents and Capital Gains Tax in Australia." Canadian Tax Journal/Revue fiscale canadienne 67, no. 1 (April 2019): 1–22. http://dx.doi.org/10.32721/ctj.2019.67.1.krever.
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The evolution of capital gains taxation in Australia parallels that in Canada in many respects. Federal income taxes were adopted in both countries during the First World War, and in both jurisdictions the courts interpreted the term "income," the subject of taxation, using United Kingdom judicial concepts that excluded capital gains from the tax base. In the last quarter of the 20th century, both countries amended their income tax laws to capture capital gains, and in both countries concessional rates apply. Initially, the Australian capital gains tax regime had rules that paralleled those in Canada in respect of the application of capital gains tax measures to non-residents, and the list of assets that might generate a capital gains tax liability for non-residents was similar in both countries. Australia changed course just over a decade ago with a decision to limit the income tax liability of non-residents in respect of capital gains to gains on land and land-rich companies alone, albeit with an extended definition of land to capture directly related interests such as exploration and mining rights. Consequently, until this decade, reform of Australia's regime imposing capital gains tax on non-residents focused on the concept of source as a primary driver, with the categories of taxable assets being gradually reduced. However, after more than a decade of unprecedented increases in housing prices in Australia, reform has moved away from addressing source to integrity matters. In Australia, as in Canada, there has been considerable investment in property, particularly residential property, by non-residents in recent years, and the government has sought ways to enhance the enforcement and integrity of the capital gains tax rules applying to non-residents disposing of Australian real property. Since 2013, Australia has proposed three separate measures to ensure integrity within this regime: removal of a concessional rate, introduction of a withholding tax, and removal of the principal residence exemption for non-residents. This article considers the history and development of Australia's capital gains tax regime as it applies to non-residents and examines the recent shift in focus from what is captured in the capital gains source rules to integrity provisions adopted to achieve both compliance and geopolitical objectives.
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Brumm, Adam. "Before Azaria: A Historical Perspective on Dingo Attacks." Animals 12, no. 12 (June 20, 2022): 1592. http://dx.doi.org/10.3390/ani12121592.
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This paper investigates the origin of the once popular belief in Australian society that wild dingoes do not attack humans. To address this problem, a digital repository of archived newspaper articles and other published texts written between 1788 and 1979 were searched for references to dingoes attacking non-Indigenous people. A total of 52 accounts spanning the period between 1804 and 1928 was identified. A comparison of these historical accounts with the details of modern dingo attacks suggests that at least some of the former are credible. The paper also examined commonly held attitudes towards dingoes in past Australian society based on historical print media articles and other records. Early chroniclers of Australian rural life and culture maintained that dingoes occasionally killed and ate humans out of a predatory motivation. By the early decades of the 20th century, however, an opposing view of this species had emerged: namely, that dingoes were timid animals that continued to pose a danger to livestock, but never to people. This change in the cultural image of dingoes can possibly be linked to more than a century of lethal dingo control efforts greatly reducing the frequency of human–dingo interactions in the most populous parts of the country. This intensive culling may also have expunged the wild genetic pool of dingoes that exhibited bold behaviour around people and/or created a dingo population that was largely wary of humans.
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Hoang, Mai. "Trần Dần: Selected Poetry Translations." Columbia Journal of Asia 1, no. 1 (April 26, 2022): 15–33. http://dx.doi.org/10.52214/cja.v1i1.9383.
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After Trần Dần criticized the poetry collection of Tỗ Hữu, a politician—calling his magnum opus a manual collection of propaganda and leadership—Tỗ Hữu assembled 150 poets and party intellectuals to criticize the poet, declaring Trần Dần and likeminded writers guilty of petty bourgeoisie. In February 1956, Trần Dần was purged from the party and sent to the infamous Hanoi Prison. Though he was released after an attempted suicide, Trần Dần was suspended from the Union of Arts and Literature for the next thirty years. In other words, for most of the poet's life, his works never saw the light of day. In August 2018, I was sitting in a cafe in Saigon sipping coffee when a novel caught my eyes: Crossroads and Lampposts it read—after a few lines I was mesmerized. I had seldom seen Vietnamese used in such a creative thought-provoking and frankly rule-breaking way. I searched up the author’s name and incredulously realized that instead of an emerging avant-garde writer, I was looking at the wikipedia entry for a 20th century radical who produced the draft fifty years before it was published. What followed was an obsessive pursuit of the elusive author's only poetry collection that led me from bookstore to bookstore across town without success. I afterwards realized that I could not find any copies because it had gone out of print long ago. Though the state had officially given Trần Dần pardon, their relationship with his poetry is still a precarious one. Fortunately, I was able to contact an Australian expatriate in Hanoi, the translator of Crossroads and Lampposts who had an electronic copy of the poetry collection that he shared with me.
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Betz, Dorothy M. "Australian Divagations: Mallarme & the 20th Century (review)." Nineteenth Century French Studies 32, no. 3 (2004): 413–14. http://dx.doi.org/10.1353/ncf.2004.0004.
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Armitage, Marc. "Antipodean traditions: Australian Folklore in the 20th century." International Journal of Play 2, no. 2 (September 2013): 150–52. http://dx.doi.org/10.1080/21594937.2013.823812.
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Vinogradova, Tatiana I., and Ekaterina A. Zavidovskaia. "Preliminary Findings about the “Okulich” Collection of Chinese Popular Prints (MAE No. 3676) in the Peter the Great Museum of Anthropology and Ethnography (The Kunstkamera)." Письменные памятники Востока 17, no. 3 (October 26, 2020): 67–88. http://dx.doi.org/10.17816/wmo46853.
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There are several collections of Chinese popular woodblock prints nianhua in the fund of the Peter the Great Museum of Anthropology and Ethnography, Russian Academy of Sciences (the Kunstkamera) acquired from different collectors. The paper addresses the so-called Okulich collection (MAE No. 3676) consisting of 250 original titles, most of which possess undoubted artistic value. According to the dated sheets, the prints were produced in the last years of the 19th century, and no later than 1904. We only know that, in 1928, a man named Okulich donated these prints to the Kunstkamera. Two groups of paintings from this collection are discussed in more detail: a series of prints that represent illustrations for the main Chinese textbook The Thousand Character Essay (Qian zi wen), and those named xiaojiaochang nianhua printed in Shanghai in the early 20th century. Their scrutiny allows us to conclude that the collector was both serious and skillful in selecting sheets for this collection: apart from being fluent in Chinese, he was a connoisseur of Chinese traditional culture and lived in China for a long time. We discovered a large family with surname Okulich who lived in China in the first half of the last century, and contacted a member of this family, but she was unable to help us with identifying the potential collector.
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Frederiksen, Jorgen S., and Stacey L. Osbrough. "Tipping Points and Changes in Australian Climate and Extremes." Climate 10, no. 5 (May 19, 2022): 73. http://dx.doi.org/10.3390/cli10050073.
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Systematic changes, since the beginning of the 20th century, in average and extreme Australian rainfall and temperatures indicate that Southern Australian climate has undergone regime transitions into a drier and warmer state. South-west Western Australia (SWWA) experienced the most dramatic drying trend with average streamflow into Perth dams, in the last decade, just 20% of that before the 1960s and extreme, decile 10, rainfall reduced to near zero. In south-eastern Australia (SEA) systematic decreases in average and extreme cool season rainfall became evident in the late 1990s with a halving of the area experiencing average decile 10 rainfall in the early 21st century compared with that for the 20th century. The shift in annual surface temperatures over SWWA and SEA, and indeed for Australia as a whole, has occurred primarily over the last 20 years with the percentage area experiencing extreme maximum temperatures in decile 10 increasing to an average of more than 45% since the start of the 21st century compared with less than 3% for the 20th century mean. Average maximum temperatures have also increased by circa 1 °C for SWWA and SEA over the last 20 years. The climate changes in rainfall an d temperatures are associated with atmospheric circulation shifts.
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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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Khromov, Oleg. "TWO PRINTS BY LEONTY BUNIN IN THE 18TH CENTURY SERBIAN GRAPHIC." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 100–113. http://dx.doi.org/10.36340/2071-6818-2020-16-2-100-113.
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The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from these engravings were well known in Russia in the 17th-18th centuries. They were primarily used as illustrations in Russian manuscript books. The engravings were made by a Russian master at the end of the 17th century. According to the features of engraving, manner, and stylistics, they can be attributed to Moscow engraver Leonty Bunin. In Russian manuscripts, they were usually used as illustrations in the book The Passion of Christ along with the 14-sheet series The Passion of Christ by Leonty Bunin. Cases of using them as independent illustrations are known. In the 1730s, these engravings disappeared from the illustrations in The Passion of Christ series in Russian manuscript books. Their later prints are unknown in Russia. The history of their appearance in Serbia, in the Krka Monastery, remains unknown. Perhaps they appeared there as gifts from Russia which the monastery regularly received. In the 18th century, Serbian religious art experienced a powerful influence from Dutch graphics. As iconographic sources, Serbian masters used Flemish and Dutch engravings of the 16th and 17th centuries. They were the same ones that were used by Russian masters of the 17th century, especially of the second half of the century, as iconographic examples. The identity of the artistic processes that took place in the art of Serbia in the 18th century and Russia of the 17th century turned out to be so close that Serbian art historians regarded the Russian prints of the 17th century by Leonty Bunin as Serbian works of an unknown engraver of the late 17th - early 19th centuries. The biography of Leonty Bunin is considered in detail in the article, some facts of his life are presented for the first time.
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Vlăduţescu, Ştefan. "Persuasive Way of Communicational Propaganda." International Letters of Social and Humanistic Sciences 31 (June 2014): 37–45. http://dx.doi.org/10.18052/www.scipress.com/ilshs.31.37.
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This study examines communication fundamentals of propaganda. Using meta-analyticalmethod shows that propaganda is one of the main forms of persuasive communication. Propaganda aspersuasion of the ability to express an opinion appears in the 20th Century as consequence of theformation of nations and urban concentrations and of the appearance of a new technique, which leadto spreading the prints, the word and the image. Contemporary propaganda is characterised byimproving the old types of propaganda and the emergence of new types.
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Gębołyś, Zdzisław. "Cieszyńskie bibliografie terytorialne od końca wieku XIX do początku wieku XXI." Z Badań nad Książką i Księgozbiorami Historycznymi 11 (December 29, 2017): 333–57. http://dx.doi.org/10.33077/uw.25448730.zbkh.2017.42.
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The paper will present the most important accomplishments on the field of documentation and registering of literature from Cieszyn Silesia, firstly bibliographical lists, which were prepared in 19th century to 20th century. Next I would like to describe collective (teamwork) bibliographies, Polish, Czech and German, which register literature from Cieszyn Silesia. Registration of publishing production from Cieszyn Silesia will be showed within the context of complicated and various political, economical an cultural conditions. Critical review of literature revevals the need of registering prints from Cieszyn Silesia. Polish and Czech activities in this field are will be discussed, as well as planned ones concerning a complete database of Cieszyn Silesia publishing production.
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Smyth, Russell, and Vinod Mishra. "The Prestige of Australian State Supreme Courts Over the 20th Century." Australian Journal of Political Science 45, no. 3 (August 17, 2010): 323–36. http://dx.doi.org/10.1080/10361146.2010.499160.
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Garczewska-Semka, Katarzyna. "The Outline of the History of Mounting Art on Paper in Poland in the 19th and 20th Centuries." Restaurator. International Journal for the Preservation of Library and Archival Material 40, no. 3-4 (November 18, 2019): 173–95. http://dx.doi.org/10.1515/res-2019-0013.
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Abstract The National Library of Poland holds three historical collections with a unified visual form. The arrangement of the Wilanów collection was carried out in the first half of the nineteenth century, whereas the Krasiński collection was arranged in the early twentieth century respectively the 1950’s or 1960’s in the case of drawings by Norwid. This contribution describes the structure of mountings found in these collections, as well as the historical context in which they were created. It serves as a starting point to provide an outline of the history of conservation methods and preservation of prints’ and drawings’ collections in Poland.
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Ducène, Jean-Charles. "Quand une édition imprimée redevient manuscrit: le Kitāb al-Masālik d’Ibn Ḥawqal (Rabat, Fondation ʿAllāl al-Fāsī, ʿayn 608)." Der Islam 95, no. 1 (March 22, 2018): 188–97. http://dx.doi.org/10.1515/islam-2018-0007.
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Summary: A new discovery of a late manuscript of Ibn Ḥawqal in the library of the ʿAllāl al-Fāsī Foundation, in Rabat, sheds light on the manuscript culture of the late 19th century in Morocco, on the dualism of manuscripts and prints of the same text at the same time. Indeed until now, Ibn Ḥawqal’s geographical treatise is known through eight medieval manuscripts that seem to give four versions of the text, although their relations are not clear. However, an unpublished manuscript is kept in Rabat, but it is a recent copy (early 20th century) of Michael De Goeje’s edition of 1873. Surprisingly this copy bears several charateristics of manuscript writing although the copist had a printed text as model.
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Pepler, Acacia S., Josephine Fong, and Lisa V. Alexander. "Australian east coast mid-latitude cyclones in the 20th Century Reanalysis ensemble." International Journal of Climatology 37, no. 4 (June 28, 2016): 2187–92. http://dx.doi.org/10.1002/joc.4812.
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Venckienė, Jurgita. "Orthography of books and their authors at the end of the 19th and the beginning of the 20th century." Lietuvių kalba, no. 15 (December 28, 2020): 1–15. http://dx.doi.org/10.15388/lk.2020.22451.
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During development of the Standard Lithuanian language at the end of the 19th century, the dialectal basis was chosen first, and the orthography varied yet for another twenty years. This article analyses the dual orthography – of books and personal orthography of their authors. The study is designed to find out whether the books published during that period reflect the orthographic model chosen by their authors; what factors, in addition to the author’s choice, may have influenced the orthography of the books.The influence of printers on the orthography of books during that period was smaller than before, as many authors did the proofreading themselves. Thus, printers were able to change the orthography in cases where books were printed without the author’s knowledge or consent, such as prayer books. If the author chose unusual, rare, or even self-invented characters, a limited inventory of prints could be a serious obstacle to keep their orthography in the book. As the case of Jonas Basanavičius shows, even when the author offered to finance the acquisition of the necessary prints, this was not necessarily done.At the end of the 19th century, books were published as supplements to periodicals. The editors of newspapers Ūkininkas and Tėvynės sargas adapted the orthography of such books to their periodicals. Under the terms of the press ban, it was often important for authors just to print a book, and the spelling model was chosen by the publisher. However, authors such as Basanavičius, who considered themselves the creators of the standard language, took care to present their chosen or created model of orthography in their books as well.As the cases of Liudvika Didžiulienė, Dominykas Tumėnas and Basanavičius show, two orthographic standards emerged during the research period: correspondence was written one way and books were printed another. Hence, it is not always possible to judge the orthographic model chosen by the authors in books published at the end of the 19th century and the early 20th century.
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Mercer, Colin. "Convergence, Creative Industries and Civil Society: Towards a New Agenda for Cultural Policy and Cultural Studies." Culture Unbound 1, no. 1 (October 14, 2009): 179–204. http://dx.doi.org/10.3384/cu.2000.1525.09111179.
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In this article I start with a personal experience “cameo” from 1996 in Australia and extrapolate from that some issues that remain relevant in the sometimes troubled relationship between cultural studies and cultural policy. These are encapsulated in the three “cs” of convergence, creative industries and civil society which provide a new context for both new research and new policy settings. The argument is developed and situated in historical terms by examining the “cultural technologies”, especially the newspaper, and subsequently print media in the 19th century, electronic media in the 20th century and digital media in the 21st century which provide the content, the technologies and the rituals for “imagining” our sense of place and belonging. This is then linked to ways of understanding culture and cultural technologies in the context of governmentality and the emergence of culture as a strategic object of policy with the aim of citizen- and population formation and management. This argument is then linked to four contemporary “testbeds” – cultural mapping and planning, cultural statistics and indicators, cultural citizenship and identity, and research of and for cultural policy – and priorities for cultural policy where cultural studies work has been extremely enabling and productive. The article concludes with an argument, derived from the early 20th century work of Patrick Geddes of the necessity of linking, researching, understanding and operationalising the three key elements and disciplines of Folk (anthropology), Work (economics), and Place (geography) in order to properly situate cultural policy, mapping and planning and their relationship to cultural studies and other disciplines.
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Freak-Poli, Rosanne, Peng Bi, and Janet E. Hiller. "Trends in cancer mortality during the 20th century in Australia." Australian Health Review 31, no. 4 (2007): 557. http://dx.doi.org/10.1071/ah070557.
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An epidemiological study was conducted, using annual cancer mortality data over the period 1907 to 1998, to explore change in Australian cancer mortality. A 3-year moving average mortality was calculated to minimise the annual fluctuations over the study period. The results suggested that overall cancer mortality rose slightly over the past century, with a small decrease in more recent years. The male and female cancer mortality rates diverged over time. Younger age groups had low and stable death rates, 35?59 years age groups demonstrated decreased rates, and older age groups had increased rates over the study period. Modifiable lifestyle factors and other possible reasons for the changes were explored.
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Fleischmann, Andreas. "The huge scientific footprint of Allen James Lowrie (1948 – 2021)." Carnivorous Plant Newsletter 51, no. 1 (March 1, 2022): 22–39. http://dx.doi.org/10.55360/cpn511.af192.
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Allen Lowrie was a not a university trained botanist. He was a botanist by passion. His studies and observations of Australian carnivorous plants and triggerplants for about a half-century will inevitably impact every person with an interest in those plants from the Australian flora. It is not an exaggeration to claim that he was probably the most influential person regarding our recent understanding and knowledge of the carnivorous plant flora of Australia. No other botanist – neither 20th or 21st Century nor before – discovered and described to science more new carnivorous plant species or triggerplants.
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Poix, Marie-Hélène. "L’Union Française des Arts du Costume, le Centre de Documentation, le Vidéodisque." Art Libraries Journal 14, no. 4 (1989): 22–24. http://dx.doi.org/10.1017/s0307472200006489.
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The Union Française des Arts du Costume, founded in 1948, has been housed since 1986 in the new Musée des Arts de la Mode, and comprises collections of garments and accessories and of complementary documentation. Its Centre de Documentation, open to all, includes a library and archival collections of drawings, prints, photographs, and publicity material; a Centre de Consultation du vidéodisque facilitates access to both garments and documents while removing the need for rare and fragile materials to be handled. A videodisc on 20th century fashion has been available since 1987; a second videodisc is devoted to the 18th and 19th centuries. The thousands of images on videodisc are complemented by a database on BRS software.
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Dodson, Giles. "REVIEW: 'Digger' media out-manoeuvred by military." Pacific Journalism Review 18, no. 1 (May 31, 2012): 238. http://dx.doi.org/10.24135/pjr.v18i1.303.
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Review of: Witnesses to War: The History of Australian Conflict Reporting, by Fay Anderson and Richard Trembath. Melbourne: Melbourne University Press, 2011, 501 pp, ISBN 978-0522856446 (pbk)Witnesses to War: The History of Australian Conflict Reporting provides a thorough-going account of the developments and, importantly, of continuities which have characterised Australian reporting of foreign wars since the 19th century. It is a welcome addition to the growing body of conflict reporting literature, in particular to that which concerns the local experience. It is clear the forces which structure Australian war journalism have remained relatively constant throughout the 20th and 21st centuries.
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Uljasz, Adrian. "Dokumenty życia społecznego z kolekcji księgarza Mariana Krzyżanowskiego jako źródło do badań nad życiem muzycznym oraz teatralnym Krakowa i Warszawy w XIX i XX wieku." Rocznik Biblioteki Naukowej PAU i PAN 64 (2019): 115–29. http://dx.doi.org/10.4467/25440500rbn.19.007.14150.
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From the Collection of the Bookseller Marian Krzyżanowski as a Source of Research on the Musical and Theatrical Life of Cracow and Warsaw in the 19th and 20th Century Programs and posters of theatre performances and concerts, as well as similar prints, serve as a valuable source of research on the tradition of the theatrical and musical life of particular cities. The Scientific Library of the PAAS and the PAS in Cracow contains materials of this kind referring to cultural events in Cracow and Warsaw, which were collected by the Cracow bookseller, antiquarian and publisher Marian Krzyżanowski, a son of the Cracow bookseller and publisher Stanisław Andrzej Krzyżanowski. These are posters from classical music concerts, theatrical programs and invitations. The documents were prepared in the years 1884–1955. A large part of them is the documentation of the activity of the concert office run by Stanisław Krzyżanowski beside the bookshop from 1870. These prints are analysed in the paper. The overview of social life documents was preceded by information about Stanisław Andrzej Krzyżanowski and his son Marian and their activity in such fields as the animation of musical culture.
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Darian-Smith, Kate, Catriona Elder, and Fiona Paisley. "“Are We Internationally Minded?” Everyday Cultures of Australian Internationalism in the mid-20th Century." Journal of Australian Studies 43, no. 4 (October 2, 2019): 405–11. http://dx.doi.org/10.1080/14443058.2019.1704171.
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Kazimova, Roya Elkhan. "Lexical features of the Australian version of the English language." Scientific Bulletin 2 (2021): 14–20. http://dx.doi.org/10.54414/ezxe6476.
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The article deals with the origin of the Australian English variant, whichwas exposed to a wide range of different dialects from all over England, but mainly in the South-East, especially from London. Early Australian English, based on audio recordings of speech by people who were born in the 19th century, from written sources and from historical recordings of the dialect mix present in the colony. During the second half or 20th century, Australian English became more and more accepted as the standard form of English used in that country. The following lists the many lexical units distinguishing features of the Australian version of the English language in comparison with the British and American version. In conclusion, Australian English takes features of both British and American English, so it is sometimes considered a combination of the two. However, it is important to understand that there are a number of unique features, including exclusive vocabulary.
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Bocharov, Taras, and Petr Kozorezenko. "Russian Landscape Linocut, 1910-1970." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 101–12. http://dx.doi.org/10.36340/2071-6818-2020-16-4-101-112.
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The article examines the origin and development of Russian graphic landscape art, performed in the technique of engraving on linoleum. It covers the period from the early 20th century, the moment the first masters of this direction of graphic art appeared in Russia, until the late 1960s when linocut, the landscape, in particular, reached its prime and acquired its completely individual, unlike any other graphic technique, characteristic. The authors analyze the linocut landscapes of notable artists of the period described starting with the founder, N.Sheverdyaev, and the leading propagandist of linocut in Russia, I.Pavlov. The article describes the distinctive features of engraving and making prints by famous artists of the 20th century, graphic artists, and not only. This is M.Dobuzhinsky, B.Kustodiev, V.Falileev, K.Kostenko, N.Piskarev, later I.Sokolov, P.Staronosov, and many other not so famous artists. The Soviet period is represented by A.Kravchenko, M.Matorin, I.Sokolov, S.Yudovin, and, of course, A.Zyryanov, one of the well-known printers of the 1960s. The linocut technique is well established in almost all types of landscape. These were industrial, agitational works, glorifying the work of Soviet people, colorful sheets, and lyrical, delicate, and poetic works. The architectural and rural landscape occupied an important place in the work of the letterpress masters: in the urban landscape, of course, the images of the two capitals prevailed, which is not surprising since most of the artists studied and worked in Moscow and Leningrad. The authors of the article drew attention to the creative work of N.Lapshin, F.Smirnov, N.Novoselskaya, A.Smirnov, and others. In the article, the authors try to show how versatile and complex the linocut technique, especially colored, is. The authors want to show that the art of engraving on linoleum helped to view the landscape genre in graphics differently and, possibly, influenced the development of the landscape in other types of prints and painting. The authors are trying to prove that linoleum engraving rightfully takes an equal position with woodcut and etching. The works of masters working in this technique are exhibited in all museums in the country.
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Antonov, Dmitriy I. "SOVIET ICONS AS A RESEARCH PROJECT." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2022): 155–64. http://dx.doi.org/10.28995/2686-7249-2022-9-155-164.
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The article is about the project of research into Soviet icons, which began at the Russian State University for the Humanities in 2021 at the Center for Visual Studies of the Middle Ages and Modern Period of the Faculty of Cultural Studies. The Soviet icon is a religious artifact created by village craftsmen (image painters) of the Soviet times – an icon, various in execution techniques, set in a wooden case (kiot). For the decoration of such icons both the traditional (for 19th – early 20th century) materials used – foil, paper, wax, paraffin etc. – as well as specific things that were available in the era of scarcity, poverty of the Soviet village, persecution of the Church and the inability to create religious artifacts in a manufactory way, for the market. Craftsmen used the fabric from Soviet Pioneers ties and wedding dresses, Soviet newspapers, foil from tea bags, prints on which were made with the hunting shotgun cartridges, etc. As a result, the complex bricolages appeared. Often they had icons and materials of the 19 – early 20th century inside, covered with a layer of heterogeneous materials of the Soviet era. The article deals with the specifics of that phenomenon, explains the term “Soviet icon” introduced by the authors of the project, and describes the prospects of the project in the coming years.
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Zavidovskaya, Ekaterina A. "Tradition, Innovations and Historical Events in the Early 20th Century Chinese Calendars from the Russian Collections." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 4 (2021): 204. http://dx.doi.org/10.31857/s086919080015487-2.
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The paper discusses two types of Chinese calendars – a traditional agricultural calendar “nongli” which existed in China since the 9th century and a Westernized “yuefenpai” calendar that emerged in Shanghai in the late 19th century and flourished until the 30-40s of the 20th century. Apart from the lunar and solar calendars and a table of 24 seasons woodblock “nongli” calendar featured a Stove God Zao-wang alone or with a spouse surrounded by a suite, fortune bringing deities and auspicious symbols, Stove God was believed to ascend to heaven and report good and bad deeds of the family members to the Jade Emperor. New standards of “peoples`” art in PRC borrowed the aesthetics of the traditional woodblock popular prints by proclaiming “new nianhua” as a new tool of propaganda and criticizing “yuefenpai”.“Yuefenpai” differed from “nongli” by modern technology of production and acting as an advertisement, yet early pieces of Shanghai calendars either feature auspicious characters and motifs or introduce current political events, such as accession of the Pu Yi emperor on the throne in 1908 (reigned in 1908–1912). These calendars were seen to be a cheap and easily available media suitable for informing population about news and innovations. The paper attempts to revisit previously established interpretations of some “yuefenpai” calendars. The research is based unpublished pieces from the collections of the State Hermitage, the Museum of Anthropology and Ethnography, academic library of the St.-Petersburg State University, the State Museum of the History of Religion mostly acquired by V.M. Alekseev (1881–1951) during his stays to China.
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Tyagunova, E. O. "Japanese Woodblock Prints From the Second Half of the 19th to Early 20th Century in the Context of the Influence to the Western Art." Art & Culture Studies, no. 4 (December 2021): 198–215. http://dx.doi.org/10.51678/2226-0072-2021-4-198-215.
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There are known periods of development of Japanese traditional ukiyo-e engraving: from its origin in the 17th century and its flourishing in the 18th — first half of the 19th century to the “decline” in the second half of the 19th century. The period of Meiji Restoration (1868–1912) was marked by the opening of Japan after more than two hundred years of self-isolation, acquaintance with Western achievements in the field of industry, science and art. The article discusses the search of combination of Western and national traditions by Japanese artists. Familiarity with the new artistic language and intention to introduce it into the space of traditional ukiyo-e engraving became the basis for the masters of this period. Changes in the field of traditional genres are noted: instead of images of actors (yakusha-e), beauties (bijinga) and landscapes (fukeiga), there were appeared images of foreigners with their manners (yokohama-e), Japan’s modernization (kaika-e), as well as the battle genre (senso-e) dedicated to the events of the Japanese-Chinese (1894–1895) and Russian-Japanese (1904–1905) wars. These attempts to transform the national art allowed to form the ground for the creativity of young masters in the 20th century, who brought traditional engraving to a new level.
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Smyth, Russell. "The Business of the Australian State Supreme Courts Over the Course of the 20th Century." Journal of Empirical Legal Studies 7, no. 1 (March 2010): 141–63. http://dx.doi.org/10.1111/j.1740-1461.2009.01173.x.
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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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Kratochvílová, Darina, and Jiří Cajthaml. "USING THE AUTOMATIC VECTORISATION METHOD IN GENERATING THE VECTOR ALTIMETRY OF THE HISTORICAL VLTAVA RIVER VALLEY." Acta Polytechnica 60, no. 4 (September 1, 2020): 303–12. http://dx.doi.org/10.14311/ap.2020.60.0303.
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The article describes, in detail, the generation procedure of vector altimetry of an upper and middle course of the Vltava River historical valley. By the historical valley, the shape of the river valley before the construction of dams on the Vltava River in the second half of the 20th century is understood. The vector altimetry will serve as the base for creating a 3D model of this valley. The initial input data were old maps, specifically scanned first-edition prints of the State Map 1 : 5 000 - Derived (SMO-5). By combining automatic and manual vectorisation, the altimetry component of these maps (contour lines and spot elevations) will be converted to a vector format. Individual processing steps, including the description of automatic vectorisation in the ArcScan extension to the ArcGIS system, together with examples of the results, are presented in the text below.
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Wrede, Maria, Maria Brynda, and Zofia Głowicka. "Informacja o zbiorach dawnego Muzeum Księży Marianów im. ks. Józefa Jarzębowskiego w Fawley Court (Wielka Brytania) – obecnie w Muzeum im. ks. Józefa Jarzębowskiego w Licheniu Starym koło Konina." Z Badań nad Książką i Księgozbiorami Historycznymi 14, no. 1 (March 24, 2020): 63–89. http://dx.doi.org/10.33077/uw.25448730.zbkh.2020.182.
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History of the Museum of Marian Fathers, founded at the college for boys in Bielany, the district of Warsaw, reconstituted in the Fawley Court at Henley-on-Thames, Great Britain, and finally moved to the Shrine of Our Lady of Sorrows in Licheń Stary, is the key to understanding the content and organization of this collection. Patriotic, religious and educational aspects of the museums, its role for the Polish diaspora in Great Britain, and its depletion in the results of historical changes. Presentation of the collection content” museum objects – sidearm, sculptures, artistic fabrics, drawings and watercolors, paintings, graphics, commemorative items; book collection – books from the 19th and 20th centuries, journals, music prints, maps, and cityscapes. A more detailed presentation of the collection of early printed books, ephemera, and journals from the 19th century.
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Collins, Peter, and Xinyue Yao. "Colloquialisation and the evolution of Australian English." English World-Wide 39, no. 3 (November 2, 2018): 253–77. http://dx.doi.org/10.1075/eww.00014.col.
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Abstract This paper investigates whether colloquialisation – a stylistic shift by which written genres come to be more similar to spoken genres – has played a role in the endonormativisation of the grammar of Australian English, a variety which has long been noted for its penchant for colloquialism. The study tracks changes in grammatical colloquialism from the early 20th century against the historical backdrop of the progressive decline in Britishness in Australia and the pervasive effects of “Americanisation”. The data are derived from a suite of parallel Brown-family corpora representing British, American, and Australian English of the 1930s, 1960s, 1990s and 2006. Multivariate techniques are used to delimit 26 “colloquial” and “anti-colloquial” grammatical features from a set of 83 potentially relevant features, and to examine changes in their frequencies between 1931 and 2006, in the three varieties, and across the three major genres of fiction, learned writing and press reportage.
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Roberts, Peder. "Fighting the ‘microbe of sporting mania’: Australian science and Antarctic exploration in the early 20th century." Endeavour 28, no. 3 (September 2004): 109–13. http://dx.doi.org/10.1016/j.endeavour.2004.07.005.
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Haddad, Abed, Toni Nakie-Miller, Josephine Brilliant Jenks, and Glen Kowach. "Andy Warhol and His Amazing Technicolor Shoes: Characterizing the Synthetic Dyes Found in Dr. Ph. Martin’s Synchromatic Transparent Watercolors and Used in À la Recherche du Shoe Perdu." Colorants 2, no. 1 (December 22, 2022): 1–21. http://dx.doi.org/10.3390/colorants2010001.
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Synthetic organic dyes were extensively used by artists in the first half of the 20th century, knowingly or otherwise. This included Andy Warhol and his À la Recherche du Shoe Perdu (c. 1955), a major portfolio of hand-colored prints, a copy of which resides in the collection of The Museum of Modern Art (MoMA). Warhol and his friends were known to use Dr. Ph. Martin’s Synchromatic Transparent Water Colors to bring these prints to life. A historical set of Synchromatic Transparent Watercolors were initially investigated by UV-visible spectroscopy, and samples from the historic set were also characterized by µ-Fourier transform infrared spectroscopy for fingerprint identification. To better elucidate the nature of the mixtures present, thin-layer chromatography was coupled with surface-enhanced Raman spectroscopy to separate the components of all colorants in the set. The dyes decisively identified include Acid Red 73, Acid Red 87, Acid Red 17, Acid Red 103, Basic Red 1, Acid Orange 7, Acid Yellow 23, Acid Green 1, Basic Green 4, Acid Blue 3, Acid Blue 93, Basic Violet 3, Basic Violet 10, Basic Violet 17, and Acid Black 2. Overall, Acid Blue 3, along with Acid Orange 7 and Acid Black 2, were found in the greatest number of dyes in the Dr. Ph. Martin’s set. Data from the historic set was subsequently used for direct comparison with reflectance spectra from the Warhol portfolio using principal component analysis. Microfade testing on a Synchromatic Transparent Watercolors brochure was also conducted to identify fugitive colorants, the results of which were extrapolated to each of the prints in the Warhol portfolio. The analysis provided further insight into the dyes used in À la Recherche du Shoe Perdu and confirmed the extreme light sensitivity of some colorants and the fastness of others.
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Yu, Henry. "Reviving a Lost Potential of the Chicago School of Sociology?" Journal of Migration History 1, no. 2 (October 29, 2015): 215–41. http://dx.doi.org/10.1163/23519924-00102004.
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This paper traces the effects of anti-Asian politics and immigration exclusion in shaping early studies of Asian migration in the Pacific region, in particular within the United States, Canada, and Australian. Yu argues that there are collaborative community research approaches that marked early 20th century studies of Asian migrants to North America that should be recovered, a lost potential of early survey research work of the Chicago school of sociology in general.
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Kelly, Piers. "Australian message sticks: Old questions, new directions." Journal of Material Culture 25, no. 2 (July 4, 2019): 133–52. http://dx.doi.org/10.1177/1359183519858375.
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Message sticks are tools of graphic communication, once used across the Australian continent. While their styles vary, a typical message stick is a flattened or cylindrical length of wood with motifs engraved on all sides. Carried by special messengers over long distances, their motifs were intended to complement a verbally produced communication such as an invitation, a declaration of war, or news of a death. It was only in the late 1880s that message sticks first became a subject of formal anthropological enquiry at a time when the practice was already in steep transition; very little original research has been published in the 20th century and beyond. In this article, the author reviews colonial efforts to understand these objects, as recorded in documentary and museum archives, and describes transformations of message stick communication in contemporary settings. He summarizes the state-of-the-art in message stick research and identifies the still unanswered questions concerning their origins, adaptations and significance.
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Dwyer, Judith, Mark Rankin, Margie Ripper, and Monica Cations. "Is there still a need for abortion-specific laws? The capacity of the health framework to regulate abortion care." Alternative Law Journal 46, no. 2 (March 8, 2021): 141–48. http://dx.doi.org/10.1177/1037969x20986636.
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After prolonged periods of criminalisation, 20th and 21st century law reform has now moved abortion care closer to being regulated as health care in all Australian jurisdictions. However, no jurisdiction has yet tested the proposition that specific laws for abortion care are unnecessary. This article analyses the capability of health law, policy and ethics to regulate abortion comprehensively, without the need for either stand-alone laws or special provisions within health law. We examined this question in the South Australian context and concluded that the health framework provides the basis for equitable, safe and accountable abortion care that is also acceptable to the community.
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van Wijngaarden, W. A., and A. Mouraviev. "Seasonal and Annual Trends in Australian Minimum/Maximum Daily Temperatures." Open Atmospheric Science Journal 10, no. 1 (September 30, 2016): 39–55. http://dx.doi.org/10.2174/1874282301610010039.
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Seasonal and annual trends in Australian minimum and maximum temperatures were studied. Records of daily minimum and maximum temperatures averaged over each month, extending as far back as 1856 were examined. Over 1/2 million monthly temperature values were retrieved from the Australian Bureau of Meteorology for 299 stations. Each station had an average of 89 years of observations. Significant step discontinuities affected the maximum temperature data in the 19th century when Stevenson screens were installed. The temperature trends were found after such spurious data were removed and averaged over all stations. The resulting trend in the minimum (maximum) daily temperature was 0.67 ± 0.19 (0.58 ± 0.26) oC per century for the period 1907-2014. Decadal fluctuations were evident in the maximum daily temperature with most of the increase occurring in the late 20th century. The minimum and maximum daily temperature trends were also found for the various seasons. The minimum daily temperature trend exceeded the maximum daily temperature trend for all seasons except during June to August. The largest increases in minimum temperature as well as the smallest maximum temperature increases were found for the region north of 30 oS latitude and east of 140 oE longitude. There was also evidence that urban stations had greater increases in maximum daily temperature than those located in a rural environment.
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Lufkin, Felicity. "The Cult of Happiness: Nianhua, Art and History in Rural North China. By James A. Flath. [Vancouver: University of British Columbia Press, 2004. 195 pp. $60.00. ISBN 0-7748-1034-3.]." China Quarterly 182 (June 2005): 446–47. http://dx.doi.org/10.1017/s0305741005300269.
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James Flath's The Cult of Happiness is a stimulating and accessible book that contributes to more than one area of current concern in Chinese studies. The author effectively situates his work in relation to developing debates about print culture, alternative conceptions or experiences of modernity, and the relationship of popular culture to markets and to state power. It should also appeal to readers interested more generally in modern Chinese art, history and visual culture.In this general vein, the book would be valuable simply as one of only a very few English-language works that deal with woodcut-printed nianhua or New Year's Pictures. These pictures, which depict a range of subjects from gods to auspiciously fat babies to scenes from legend and history, were a ubiquitous part of Chinese household ritual and decoration well into the 20th century, and are still evoked in a variety of contexts in contemporary Chinese visual culture. For various reasons, they have not received as much scholarly attention as they should, especially in comparison to other popular print traditions, such as their distant Japanese cousins, ukiyo-e prints. As a genre, nianhua are believed to have quite a long history (Chinese sources, for example, often identify a print found in a 12th-century tomb as one of the earliest extent nianhua), and they were certainly made and circulated throughout China. Flath, however, wisely limits his study both temporally and geographically by focusing on the last decades of the 19th century and the first half of the 20th, when the vast majority of nianhua now extant were made, and on north China, which encompasses several of the most influential and best-documented centres of nianhua production.
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Landes, William M. "Winning The Art Lottery : The Economic Returns to The Ganz Collection." Recherches économiques de Louvain 66, no. 2 (2000): 111–30. http://dx.doi.org/10.1017/s0770451800083822.
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SummaryIn 1997, the Christie’s sale of 20th century art works from the estate Victor and Sally Ganz netted more than $207 million, a record sum for a single-owner sale of art at auction. The paper presents estimates of the Ganzes’ financial returns from investing in art using records the Ganzes’ kept on the prices they originally paid for the works sold in 1997 and two earlier auctions in 1986 and 1988. Over the period 1948 to 1997 the Ganzes earned real rates of return ranging from 12 to over 21 percent for works sold at the three auctions. Overall, the Ganzes beat-often by a wide margin-the returns from diversified portfolios of common stocks. The empirical evidence shows that the Ganzes were not only lucky but skillful investors as well. Their financial success did not result from a few lucky purchases. They earned consistently high returns, regularly beating the stock market on works by different artists acquired at different time periods. I also found that buyers were willing to pay a price premium for works from the Ganz collection compared to “identical” works sold by others. For example, buyers paid between 25 and 90 percent more for prints from the Ganz collection than for otherwise identical prints. The likely source of this premium is the quality and prestige of the Ganzes’ collection itself not the recently acquired celebrity status of the collectors.
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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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Quinn, Michael. "Rights to the rangelands: European contests of possession in the early 20th century." Rangeland Journal 23, no. 1 (2001): 15. http://dx.doi.org/10.1071/rj01011.
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Resolving competition over rights to the resources of Australia's rangelands is an issue of national prominence. In the early 20th century, European competition over the rangelands reflected the idea that the land needed to be used 'productively' for its occupation to be legitimate, and the idea that the rangelands were the 'public estate'. These perspectives about rights to the rangelands expose roots of today's conflicts. A central theme of 19th century Australian history has been conflict between squatters and colonial governments. By the beginning of the 20th century, occupation of the rangelands had been mostly legitimised through leases and licenses. Governments have continued to use leases to influence access and the use of the rangelands. The 20th century saw conflict continue over rights to the rangelands. Closer settlement, an expression of this conflict, sometimes led to land use that was disastrous for the land and those who used it. The career of the pastoralist Sidney Kidman illustrates the conflicts between the landed and landless, and the inseparability of 'productive' and 'legitimate' land use. The beginning of the 20th century also saw growing knowledge about the environmental impacts of rangeland pastoralism. The rights of lessees and governments were widely renegotiated, in the example of New South Wales, in all attempt to make land use better reflect this new knowledge and to protect the 'public estate'. Today, the history of the rangelands is used by different groups to justify perceived rights to its resources — these rights are legitimised culturally as well by the narrower prescriptions of the law. As social values change, different interests in the rangelands need to be accommodated. A better awareness of past ideas about the rights to the rangelands may in a small way help reconcile these interests, if only by reminding us that in the continuing process of adapting to the rangelands, rights have always been contested and negotiated rather than immutable.
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Běhalová, Štěpánka. "Kramářské tisky jako specifický doklad knižní kultury 18. a 19. století. Fond kramářských tisků Muzea Jindřichohradecka." Acta Musei Nationalis Pragae – Historia litterarum 66, no. 3-4 (2021): 80–100. http://dx.doi.org/10.37520/amnpsc.2021.019.
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This book-science study focuses on chapbooks, the development of research on this specific cultural phenomenon and the related collection activities, presented by the example of the collection of chapbooks housed in the Museum of the Jindřichův Hradec Region. Chapbooks have already been of scientific and collecting interest since the end of the 19th century. Extensive projects have recently been prepared with the aim of processing and providing access to the collections of memory and academic institutions. Bibliologically, a chapbook is defined as a small multi-page print, usually in octavo, duodecimo or sextodecimo (exceptionally trigesimo-secundo) format, which contained a lyric or epic text in poetry or prose with a religious or secular theme, was created with an emphasis on the commercial aspect and was primarily to make profit for the author, the printer (through the use of economical printing methods) as well as the seller (through the number of the printed copies sold). In 2021, the collection of chapbooks, which is part of the holdings of the Museum of the Jindřichův Hradec Region, contains almost 4,400 inventory numbers. The collection was established in the 1930s, and further large acquisitions were made in the 1990s from the literary estate of the Landfras family of printers from Jindřichův Hradec. The collection is dominated by prints from the Jindřichův Hradec printing works, comprising more than half of the collection; a rather large set is formed by the production of Prague printing workshops (14%); smaller sets come from printing workshops in Vienna, Chrudim and Jihlava. The earliest prints in the collection are Píseň o moci, divích a zázracích sv. Škapulíře [A Song about the Power, Wonders and Miracles of the Holy Scapular] (Hradec Králové 1725) and Dvě písničky nové velmi pěkné o svaté Anně [Two Very Nice New Songs about St Anne] (Příbram 1726). The latest prints come from the 1940s, namely Zásvětná modlitba k Panně Marii [A Dedication Prayer to the Virgin Mary] (Olomouc 1940) and Píseň k sv. Janu Nepomuckému [A Song to St John of Nepomuk] (J. Hradec 1944). The study deals with the formal and content aspects of chapbooks. A comparison with extant wooden printing blocks from the inheritance of the Landfras printing works has revealed similarities in this printing decoration across printing workshops, but also the production of several apparently identical plates in one or more printing workshops especially in the 19th century. Moreover, the paper presents the changes in the decoration and form of the prints that chiefly occurred in the second half of the 19th century. In decoration, there is a clear connection with other types of printed production: in the area of secular themes with books of popular reading and in that of religious topics mainly with holy pictures, house blessings, memento mori prints and folding holy letters. There were certain analogies in their methods of production and decoration, but they were also distributed together and were among traditional means of personal devotion. The various texts printed in chapbooks (folk, popularised and artificial songs, poetry or prose texts of religious and secular content) can also be found in other printed media – in hymnals, songbooks, prayer books, books of folk reading, as well as theatrical plays, 19th-century almanacs, and periodicals. The chapbooks from the collection under study contain songs as well as other texts mostly related to religious pilgrimage in the 19th century, with the songs in them becoming ever less frequent. The chapbook production of the long 19th century is represented in the collection by a large number of chapbooks from the Landfras printing works in Jindřichův Hradec. The Landfras family, whose publishing profile emphasised religious and prayer literature primarily for rural population, concentrated the production of chapbooks in this area as well. The chapbook as a multidisciplinary phenomenon has been the subject of interdisciplinary research since the beginning of the 20th century. It has received the attention of ethnologists, librarians, book scientists and musicologists, as well as curators of collections in memory institutions. Its content and genre, hitherto studied in detail within secular broadside ballads, await evaluation by the new generation of literary scholars and cultural anthropologists in the field of religious chapbooks.
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Nikiforova, Nadezhda. "Hikifuda, or What Japanese Advertising Looked Like at the Turn of the 19th and 20th Centuries (Collection from the Russian State Art Library)." Oriental Courier, no. 1 (2022): 115. http://dx.doi.org/10.18254/s268684310021383-9.
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Hikifuda are woodcut or lithograph prints that retailers and wholesalers, mercantile agencies, and other organizations in Japan of the Meiji era (1868–1912) used as advertising materials. The Meiji era was the period of great Japanese transformation from a medieval country into a modern power which was treated by European countries as equal. As a result, the new type of advertisement helped in spreading western ideas and lifestyles among the residents. Besides, the low price and mass production of the leaflets is another reason for their high popularity along with in whole Japan. The hikifuda handbills gave start to a new stage in the Japanese advertising industry and developed means of communication, connected Japanese traditional art with European modern trade tendencies. They have a great variety of subjects, which contain deep symbols and signs related to Japanese history and culture: traditional Japanese Ukiyo-e engravings: Women in kimono, children, the Seven Gods of Fortune Ebisu, Daikokuten, Benzaiten and others, dragons and mount Fuji and other various symbols. Besides traditional Japanese symbols, telephones, telegraph poles, mailboxes, European clothing stores, and even tobacco shops were depicted as signs of the influence of the Western lifestyle on the Japanese economy, politics, culture, and everyday life. The research is based on materials from the collection of the RSAL Iconography Department that hosts various samples of hikifuda advertising leaflets. Presumably, they were produced in the early 20th century by the Osaka printing workshop. Japanese advertising leaflets in the Russian State Art Library (RSAL) collection represent an interesting, but still poorly researched layer of urban art in Japan at the turn of the 19th—20th century.
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Matthews, David. "Peter Sculthorpe at 60." Tempo, no. 170 (September 1989): 12–17. http://dx.doi.org/10.1017/s004029820001799x.
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Peter Sculthorpe's career has been one of remarkable unity of vision and consistency of purpose. From the start, he set out to create a music which, while universal in content, would be specifically Australian in its idiom. At the time he was growing up, this was not an over-simplistic aim, especially when Sculthorpe looked at the music then being written in Australia and saw that, by and large, it was hopelessly dependent on European manners and cultural traditions that could only be acquired at second-hand. Australians were then, and still are, in the process of self-discovery; the best Australian artists have learned that their own country can provide them with richer material for their work than can distant Europe. Painters, especially, have found the extraordinary Australian landscape, where trees shed their bark instead of their leaves, and prehistoric animals roam in a red desert, a potent source of inspiration. Even in the 19th century the painters of the Heidelberg school, in responding to the glaring Australian light, produced work quite different in feeling from the French Impressionists who were their models. In the 20th century a true national school has come into being, whose major figures have all helped to define the Australian landscape's peculiar strangeness – Lloyd Rees, Russell Drysdale, Fred Williams, Arthur Boyd, Sidney Nolan.
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Donaldson, Sarah, Peng Bi, and Janet B Hiller. "Secular Change in Mortality from Suicide in Australia during the 20th Century." Australian Journal of Primary Health 13, no. 1 (2007): 45. http://dx.doi.org/10.1071/py07006.
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To identify secular change in Australian suicide mortality over the period 1907-1998 and to seek possible explanations, a descriptive epidemiological study was conducted. Deaths due to suicide from 1907 to 1998 were identified according to the ICD-9. Trends in overall annual suicide mortality rates for all causes and individual causes were examined using the three-year moving average method, standardised by age and sex. Secular trends for mortality over the study period were examined in various age groups, using linear regression to test the slope. The results indicated that there has been a decline in overall age and sex standardised mortality from suicide over the study period. The death rate dropped from 15.2 per 100,000 in the early century to 13.9 per 100,000 in late century. Despite the overall decline, the female suicide mortality rates increased over the study period. Male suicide mortality rates were significantly higher than female rates over the study period (P<0.0001). Increased suicide rates were observed in the 15-24 and 25-44 year old age groups for both males and females. The group of 65+ year old females also had increased rates. Decreased rates were observed in both the male and female 45-64 year old age group and in the 65+ year old male age group. The three most common suicide methods used by males in 1907 were guns, poisoning and hanging, while for females they were drowning, hanging and poisoning. In 1998 they were changed to hanging, gas and guns for males and hanging, gas and drowning and poisoning (equally third) for females. These trends can be attributed to numerous factors such as economic crisis, world wars, the availability of suicide methods, a person's gender.
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Finnane, Mark. "‘Upholding the Cause of Civilization’: The Australian Death Penalty in War and Colonialism." International Journal for Crime, Justice and Social Democracy 11, no. 3 (September 1, 2022): 23–32. http://dx.doi.org/10.5204/ijcjsd.2473.
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The abolition of the death penalty in Queensland in 1922 was the first in Australian jurisdictions, and the first in the British Empire. However, the legacy of the Queensland death penalty lingered in Australian colonial territories. This article considers a variety of practices in which the death penalty was addressed by Australian decision-makers during the first half of the 20th century. These include the exemption of Australian soldiers from execution in World War I, use of the death penalty in colonial Papua and the Mandate Territory of New Guinea, hanging as a weapon of war in the colonial territories, and the retrieval of the death penalty for the punishment of war crimes. In these histories, we see not only that the Queensland death penalty lived on in other contexts but also that ideological and political preferences for abolition remained vulnerable to the sway of other historical forces of war and security.
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Rane, Halim, Adis Duderija, Riyad H. Rahimullah, Paul Mitchell, Jessica Mamone, and Shane Satterley. "Islam in Australia: A National Survey of Muslim Australian Citizens and Permanent Residents." Religions 11, no. 8 (August 14, 2020): 419. http://dx.doi.org/10.3390/rel11080419.
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This article presents the findings of a national survey on Islam in Australia based on responses of 1034 Muslim Australian citizens and permanent residents. Knowing what Muslim Australians think about Islam in relation to Australian society is essential for a more informed understanding about Islam and Muslims needed to address misinformation, Islamophobia, and extremism. The findings presented in this article include typologies of Muslims; sources of influence concerning Islam; interpretations of the Qur’an; perspectives on ethical, social, and theological issues; issues of concern; social connections and sense of belonging; views on various Muslim-majority countries; and perspectives concerning political Islam, including jihad, caliphate, and shariah. While respondents’ understandings, interpretations, and expressions of Islam overall align with values and principles of equality, human rights, social cohesion, and social justice, a minority were found to understand and interpret Islam in ways that reflect the influence of late 20th and early 21st century ideas associated with Islamist political ideology, and a smaller sub-group were found to have views that could be considered extreme. This article discusses these findings in relation to the early 21st century time-period factors and the Australian social context.
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Bennett, Theodore. "Tortured genius: The legality of injurious performance art." Alternative Law Journal 42, no. 1 (March 2017): 24–28. http://dx.doi.org/10.1177/1037969x17694791.
Full textAbstract:
In the 20th century, a distinct subset of performance art emerged in which the artist is deliberately physically injured as part of their performance. While such performances are now a settled type of artistic expression their legal status is unclear. This article examines the legality of such performances under the Australian criminal law. Focusing on common law principles, it compares injurious performance art to the legally recognised category of ‘dangerous exhibitions’ and ultimately argues that such performances will only be lawful if it can be clearly demonstrated that they have public utility.