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Статті в журналах з теми "Melbourne fine art"
Rosen, Alan. "Return from the vanishing point: a clinician's perspective on art and mental illness, and particularly schizophrenia." Epidemiologia e Psichiatria Sociale 16, no. 2 (June 2007): 126–32. http://dx.doi.org/10.1017/s1121189x00004747.
Повний текст джерелаGao, Guangliang, Zhifeng Bao, Jie Cao, A. K. Qin, and Timos Sellis. "Location-Centered House Price Prediction: A Multi-Task Learning Approach." ACM Transactions on Intelligent Systems and Technology 13, no. 2 (April 30, 2022): 1–25. http://dx.doi.org/10.1145/3501806.
Повний текст джерелаQadri, Debbie. "Hosier and Rutledge Lanes—where anyone can go and make art and other stories." Journal of Public Pedagogies, no. 5 (November 10, 2020): 31–47. http://dx.doi.org/10.15209/jpp.1212.
Повний текст джерелаIsaac, Joseph. "Situations of Encounter: Playful Gazes in Street Art deTours." Conjunctions. Transdisciplinary Journal of Cultural Participation 3, no. 1 (June 6, 2016): 1. http://dx.doi.org/10.7146/tjcp.v3i1.23648.
Повний текст джерелаRadic, Thérèse. "Major Choral Organizations in Late Nineteenth-Century Melbourne." Nineteenth-Century Music Review 2, no. 2 (November 2005): 3–28. http://dx.doi.org/10.1017/s1479409800002184.
Повний текст джерелаSeles, Susi. "ANALISIS PERBANDINGAN NOVEL “MUTIARA DI KOTA MELBOURNE ” DAN “FOUR SEASONS IN BELGIUM” DENGAN PENDEKATAN MIMETIK." Disastra: Jurnal Pendidikan Bahasa dan Sastra Indonesia 1, no. 1 (January 10, 2019): 33. http://dx.doi.org/10.29300/disastra.v1i1.1463.
Повний текст джерелаKunin, Marina, Jenny Advocat, Suhashi M. Wickramasinghe, Emilie Dionne, and Grant Russell. "How general practitioners perceive access needs of vulnerable patients and act to address these needs: a mixed-methods study in south-east Melbourne, Australia." Australian Health Review 44, no. 5 (2020): 763. http://dx.doi.org/10.1071/ah19186.
Повний текст джерелаRoberts, Lynda. "Pattern Interrupt." Art & the Public Sphere 8, no. 2 (December 1, 2019): 195–200. http://dx.doi.org/10.1386/aps_00020_7.
Повний текст джерелаRae, Ian D. "The Roche Research Institute of Marine Pharmacology, 1974 - 1981: Searching for Drug Leads from Australian Marine Organisms." Historical Records of Australian Science 20, no. 2 (2009): 209. http://dx.doi.org/10.1071/hr09013.
Повний текст джерелаPowell, Anastasia, Caitlin Overington, and Gemma Hamilton. "Following #JillMeagher: Collective meaning-making in response to crime events via social media." Crime, Media, Culture: An International Journal 14, no. 3 (July 26, 2017): 409–28. http://dx.doi.org/10.1177/1741659017721276.
Повний текст джерелаДисертації з теми "Melbourne fine art"
Zhang, Jiaying, and jiaying zhang@rmit edu au. "Understanding Host Community Attitudes towards Tourism and Resident-Tourist Interaction: A Socio-Behavioural Study of Melbourne's Urban-Rural Fringe." RMIT University. Management, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080801.144715.
Повний текст джерелаDoyle, Adrian. "Using Blender Studios as a Point of Reference to Examine the Intersection of Fine Art and Street Art." Thesis, 2021. https://vuir.vu.edu.au/43499/.
Повний текст джерелаКниги з теми "Melbourne fine art"
Gascoigne, Rosalie. Rosalie Gascoigne, Colin McCahon: Sense of place : Ivan Dougherty Gallery, Sydney, College of Fine Arts, the University of New South Wales : the Ian Potter Gallery, Melbourne, the University of Melbourne Museum of Art. Paddington, NSW: Published for the Ivan Dougherty Gallery, College of Fine Arts, by the University of New South Wales, 1990.
Знайти повний текст джерелаTaylor, Robin. Wild Places of Greater Melbourne. CSIRO Publishing, 1999. http://dx.doi.org/10.1071/9780643101487.
Повний текст джерелаElgar, Mark A., ed. Frontiers in Ecology and Evolution 2020 Highlights. Frontiers Media SA, 2021. http://dx.doi.org/10.3389/978-2-88966-607-2.
Повний текст джерелаLauraine Diggins Fine Arts (Gallery), ed. The Antipodeans: Another chapter : Lauraine Diggins Fine Arts, Melbourne, Vic., Monday 17 October-Friday 4 November 1988 : Nolan Gallery, Lanyon, ACT, Saturday 12 November-Sunday 11 December 1988 : S.H. Ervin Gallery, Sydney, NSW, Thursday 22 December 1988-Friday 27 January 1989. North Caulfield, VIC: Malakoff Fine Art Press, 1989.
Знайти повний текст джерелаЧастини книг з теми "Melbourne fine art"
Compton, Michael T., and Beth Broussard. "Finding Specialized Programs for Early Psychosis." In The First Episode of Psychosis. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195372496.003.0024.
Повний текст джерела"decency, compassion. Neighbours resembles the down-home, wholesome populism of a Frank Capra comedy except that its suburban protagonists are saved the trouble of traveling to and from a big city to discover their true values. 8 Differences are resolved, dissolved, or repressed The characters are “almost compulsively articulate about problems and feelings” (Tyrer 1987). Crises are solved quickly, usually amicably. Conflict is thus managed almost psychotherapeutically by and within the inner circle of family, and the outer circle of Ramsay Street. Witness the episode broadcast on April 23, 1992 in Australia: after fire destroys much of Gaby’s clothes boutique, three female neighbors remake the lost stock, while three male neighbors clear up the debris from the shop. As the theme song has it: “Neighbours should be there for one another.” Incursions of conflict from the social world beyond these charmed circles are treated tokenistically or spirited away. The program blurs or represses differences of gender politics, sexual preference, age, and ethnicity. Domestic violence and homosexuality, male or female, are unknown. Age differences are subsumed within family love and tolerance. Aboriginal characters manage a two-episode plot line at most (Craven 1989: 18), and Greeks, despite the real Melbourne being the third largest Greek city in the world, figure rarely. Neighbours-watchers could likewise be forgiven for not knowing that Melbourne has the largest Jewish community in Australia. The program elides questions of disability, alcoholism, or religious difference. It displaces drug addiction on to a friend outside immediate family circles (Cousin 1992). Unemployment as a social issue is subordinated to the humanist characterization of Brad, for instance, as dopey, happy-go-lucky surfie. Neighbours counterposes suburban escapism to the high-gloss escapism of Santa Barbara. 9 Depoliticized middle-class citizenship These “cosy parish pump narratives,” as Ian Craven calls them, depoliticize the everyday (Craven 1989: 21). Such good middle-class suburban citizenship is roundly condemned by no less than Germaine Greer: The world of Neighbours is the world of the detergent commercial; everything from the kitchen worktops to the S-bend is squeaky clean. Everyone’s hair and underwear is freshly laundered. No one is shabby or eccentric; no one is poor or any colour but white. Neighbours is the Australian version of the American dream, owner-occupied, White-Anglo-Saxon-Protestant paradise. (Greer 1989) In this blithely comfortable middle-class ethos, the characters seem never to have problems with mortgage repayments. Commenting on the opening episodes of Neighbours, a British critic underlines its property-owning values:." In To Be Continued..., 111. Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-13.
Повний текст джерела"Supported as they are by these five institutional and cultural factors, the ten general textual factors set out above would seem to encounter no import restrictions to the UK. But there remain four other factors. These constitute apparent points of difference between Australia as represented in Neighbours, and Britain, the importing market. The four features of significant climatic, cultural, and linguistic differences between the two countries put to the test the questions raised earlier: how assimilable are the cross-cultural differences involved? Under what circumstances can such differences be assimilated? First, weather. In the words of Barry Brown, Head of Purchased Programmes at the BBC, “The weather [in Australia] is always hot and the characters are casually dressed. [This] gives the series a freedom and freshness which is new to us” (quoted by Tyrer 1987). Ruth Brown observed that “the cast complain of having to perform in unseasonably thin clothing because the Poms like to think it’s always hot in Oz” (Brown 1989). The production company, Grundy, denies anything of the sort: “We don’t make the show for world consumption, international consumption . . . . What we get back from overseas wouldn’t pay for it” (Fowler 1991). Warm weather can be associated with a casual lifestyle and the singlets and shorts sartorially prominent in Neighbours. Such weather and lifestyle, then, can represent idealized projections for Britons seeking sunny holidays away from grim, grey skies and drear British drabness. The second difference takes off from two aspects of Australian suburbia: higher rates of home-ownership and much lower rates of population density than obtain in the UK. As represented in Neighbours, readily accessible home-ownership can exercise an evident appeal for Britons, especially during the late 1980s property boom, when rapidly rising prices excluded yet more from joining the propertied classes. Moreover, the spacious homes and gardens of Erinsborough are a function of a low population density which enables British viewers to imagine in the Melbourne suburb a comfortable self-distancing from the violent evidence of class and ethnic differences so widespread in a Conservative Britain. Allied to this is the relative affluence enjoyed by the neighbors. A quotation from the 15-year-old Scot, Lucy Janes, brings together differences of weather and suburbia in a comparison of Neighbours with the socially conscious EastEnders: If you turn on a British soap such as EastEnders, you see a pub, dirty houses, dirty streets and the British weather. Neighbours, on the other hand, is set in a clean, bright little street with swimming pools in every garden and SUN. To us Neighbours offers the taste of a world beyond the wet and fog-ridden British Isles. (Janes 1988) A bathetic referential parenthesis: the much-vaunted quarter-acre plot of Australian suburban real estate discourse has in actuality more than its share of loneliness, domestic violence, lack of nearby educational facilities, commercial and social services, and so on. An Australian." In To Be Continued..., 115. Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-17.
Повний текст джерелаТези доповідей конференцій з теми "Melbourne fine art"
Gardiner, Fiona. "Yes, You Can Be an Architect and a Woman!’ Women in Architecture: Queensland 1982-1989." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4001phps8.
Повний текст джерелаЗвіти організацій з теми "Melbourne fine art"
Mahat, Marian, Guy Morrow, Brian Long, Siew Fang Law, Amy Gullickson, and Chengxin Guo. Developing an impact framework for Science Gallery Network: Final report. University of Melbourne, 2022. http://dx.doi.org/10.46580/124372.
Повний текст джерела