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Добірка наукової літератури з теми "Weirs Victoria"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "Weirs Victoria"

1

Jia, Y., S. Scott, Y. Xu, and S. S. Y. Wang. "Numerical Study of Flow Affected by Bendway Weirs in Victoria Bendway, the Mississippi River." Journal of Hydraulic Engineering 135, no. 11 (November 2009): 902–16. http://dx.doi.org/10.1061/(asce)0733-9429(2009)135:11(902).

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2

Chester, E. T., and B. J. Robson. "Do recolonisation processes in intermittent streams have sustained effects on benthic algal density and assemblage composition?" Marine and Freshwater Research 65, no. 9 (2014): 784. http://dx.doi.org/10.1071/mf13239.

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Анотація:
When intermittent streams flow, benthic algae develop from both colonising propagules and regrowing dried biofilm. We aimed to determine whether colonisation processes influence algal densities and taxonomic composition beyond the period immediately following commencement of winter flows, and whether regulation modifies those processes, in the Victoria Range, Australia. Stones were placed in two unregulated streams, and upstream and downstream of weirs in three regulated streams, after dry biofilm was removed. Epilithic algae on treatment and control stones were collected after winter flows (12 weeks). Treatment effects were still apparent in one (unregulated) stream, but not in the other streams. Algal assemblages and densities upstream and downstream of weirs differed, but there was no systematic pattern among streams. In intermittent headwater streams, recolonisation processes may influence algal assemblages until spring; but in most streams, the duration of influence will be shorter, depending on the assemblage composition in regrowth and refuges, which is also shaped by conditions during the previous flow season. If the effects of regulation depend on how idiosyncratic flow regimes and assemblage compositions influence recolonisation, they may be difficult to predict. Similarly, recovery trajectories for stream communities after drought will differ among streams, depending on whether biofilm can develop during potentially short seasonal flows.
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3

Lewis, Molly B. "Literacy and Preservation in “The Death and Burial of Cock Robin”." Victorians Institute Journal 49 (November 1, 2022): 3–27. http://dx.doi.org/10.5325/victinstj.49.2022.0003.

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Abstract This article considers an 1850 publication of the children’s nursery rhyme “The Death and Burial of Cock Robin” and accompanying illustrations by Harrison Weir. The publication serves as educational material, guiding Victorian children through the process of losing a loved one while providing a window into preservation culture in mid-nineteenth-century Britain. Weir’s illustrations, reflecting popular taxidermy tableaux, nuance this pedagogical project by drawing on the growing naturalist preoccupation of the nineteenth century and attendant preservation culture. The preservation and commodification of animal bodies was also closely tied to education for both children and adults, as they provided windows into other experiences of an ever-widening world. Unlike other depictions of the rhyme, Weir’s unique illustrations focus on animals in nature rather than as material for human drama. This emphasis reflects the period’s shifting attitudes toward the natural world in light of industrialization. Children’s fluency with the natural world was beginning to experience fissures. Thus, the Cock Robin nursery rhyme served as an education in both burial roles and seeing, recognizing, and naming the natural world. Its reflection of commodification culture, however, makes it a poor educational tool today, even while our need for such material continues to grow.
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4

Aitken, S. C., and L. E. Zonn. "Weir(d) Sex: Representation of Gender-Environment Relations in Peter Weir's Picnic at Hanging Rock and Gallipoli." Environment and Planning D: Society and Space 11, no. 2 (April 1993): 191–212. http://dx.doi.org/10.1068/d110191.

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Soft images of pubescent women scaling the dizzy heights of a massive phallic rock in turn-of-the-century rural Victoria, and young men matching physical prowess in the indomitable Western Australian desert as World War I rages in Europe, provide foci for two of Peter Weir's most successful early films, Picnic at Hanging Rock (1975) and Gallipoli (1981). In both these films the physical landscape is simultaneously integrated with and contrasted to the passions of young men and women. The result is an aesthetic that takes the viewer beyond the immediate narrative to a place where masculinity and femininity find expression. In this paper, transactional and psychoanalytic perspectives are used to interrogate the gender images which are portrayed in both these movies, linking them to some concepts which find currency in ecofeminism. The concern is with the individual struggle between the powerful, complex, and yet less-than-rational forces that are integral to the nature of our individual beings and the rational nature of prevailing societal values that supposedly provide us with guidance. A dynamic theory of contemporary film is implicit in our discussion of “images in motion over time through space with sequence”. These elements—along with an overlay of shape, size, scale, color, sound, and light—arc the cues that provide meaning for Weir's portrayal of wo/man-in-environmcnt relations. Suggested in this paper is a broader narrative which speaks to a postmodern sexual order and its representations in social theory and contemporary cinema. Crucial questions are raised regarding the ways that cultural identity is grounded in class and gender.
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5

Dajnowski, Maciej. "„Praca widma w epoce mechanicznej reprodukcji”. China Miéville: koncepcje „haute weird” i „abcanny”." Literatura i Kultura Popularna 26 (September 16, 2021): 179–201. http://dx.doi.org/10.19195/0867-7441.26.14.

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The aim of the paper is presentation and discussion of China Miéville’s theoretic approach to the issue of horror’s subgenres, including classical Victorian ghost story and Lovecraftian weird fiction. “The abcanny” — in a way a subversive, theoretical category, that Miéville coins in his critical writings — is crucial for both his own speculations and the problems considered here. As it is decisively opposite to Freudian “uncanny” and Kristevian “abject”, it constitutes a relatively new approach to the question of distinction among the aforementioned horror literary genres. The Victorian ghost story, as Miéville sees it, is deeply rooted in the experience of the uncanny, and so it presupposes the “return of the repressed” from the individual or collective/cultural unconsciousness. Hence ghost stories are — just for example — susceptible to hauntological interpretations. Weird fiction — on the contrary — implies the experience of something radically new, something so far non-existent and therefore unacceptable and dreadful. If a classical ghost story can be perceived as an expression of the nineteenth–century fear of the irrationality returning from the past preceding the revolution of the Enlightenment, haute weird narrative embodies modernistic anxiety of the upcoming future, its uncertain nature, cognitive and moral relativism, and — what is most important here — the dubious status of man facing a boundless chasm of time and space.
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Green, David, Douglas Brown, Kathleen McIlvenna, and Nicola Shelton. "‘The Postman Wears Out Fast’: Retiring Sick in London’s Victorian Post Office." London Journal 44, no. 3 (September 2, 2019): 180–205. http://dx.doi.org/10.1080/03058034.2019.1662680.

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O'Connor, Erin. "“Fractions of Men”: Engendering Amputation in Victorian Culture." Comparative Studies in Society and History 39, no. 4 (October 1997): 742–77. http://dx.doi.org/10.1017/s0010417500020892.

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In 1866, theAtlantic Monthlypublished a fictional case study of an army surgeon who had lost all of his limbs during the Civil War. Written anonymously by American neurologist Silas Weir Mitchell, “The Case of George Dedlow” describes not only the series of wounds and infections which led to the amputation of all four of the soldier's arms and legs but also the after-effects of amputation. Reduced to what he terms “a useless torso, more like some strange larval creature than anything of human shape,” Dedlow finds that in disarticulating his body, amputation articulates anatomical norms. His observation of his own uniquely altered state qualifies him to speak in universal terms about the relationship between sentience and selfhood: “I have dictated these pages,” he says, “not to shock my readers, but to possess them with facts in regard to the relation of the mind to the body” (1866:5). As such, the story explores the meaning of embodiment, finding in a fragmented anatomy the opportunity to piece together a more complete understanding of how the body functions—physically and metaphysically—as a whole.
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8

Mitchell, Rebecca N. "Victorian Faddishness: The Dolly Varden from Dickens to Patience." Journal of Victorian Culture 26, no. 2 (April 1, 2021): 153–71. http://dx.doi.org/10.1093/jvcult/vcab006.

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Abstract This article addresses the origins and nature of the fad through a case study of the ‘Dolly Varden’ dress. The gown originated in the 1770s as a ‘polonaise’ among continental aristocracy, and experienced a minor revival in the 1840s when Dolly Varden, a character in Charles Dickens’s novel Barnaby Rudge (1841) was depicted wearing it. But it did not become a fad until the 1870s, after a Dickens-owned painting of the character was sold and the gown re-entered the public eye. Having shed its historical or literary connections, the gown was revived again in Gilbert and Sullivan’s comic opera Patience (1881), a well-known send-up of Aesthetic foibles. Often overlooked is the fact that dairy maid Patience – who figures in the opera as a counterpoint to the lovesick maidens wearing high Aesthetic garb – wears a Dolly Varden gown, as faddish as any Aesthetic gown, only slightly outdated. The Aesthetic afterlife of the dress demonstrates the mutability of Victorian fads and the gleeful ignorance of antecedents that typifies fad culture. Facilitated by the material and commercial innovations of the period and fuelled by an insistent presentism, fads are – this article argues – a truly Victorian phenomenon.
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9

ALLSOPP, PETER G., and PETER J. HUDSON. "Novapus bifidus Carne, 1957, a primary homonym and synonym of Novapus bifidus Lea, 1910 (Coleoptera: Scarabaeidae: Dynastinae)." Zootaxa 4560, no. 3 (February 26, 2019): 576. http://dx.doi.org/10.11646/zootaxa.4560.3.9.

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In his landmark revision of the Australian Dynastinae (Coleoptera: Scarabaeidae) Phil Carne (1957) described Novapus bifidus Carne, 1957 from males and females collected at Cape York and Thursday Island. The type series is in the Australian National Insect Collection, Canberra, Australia (ANIC); the Natural History Museum, London, United Kingdom; the South Australian Museum, Adelaide, Australia (SAM); and the Museum of Victoria, Melbourne, Australia. He noted “In the collections of the South Australian Museum there are specimens designated as types of bifidus Lea. No description of this species has been published, and it is now described under the same specific name”. One of his paratypes is a female in SAM identified as “Lea’s unpublished ♀ type” and two other paratypes are males in SAM. Cassis & Weir (1992) noted that one of the SAM specimens has the registration number I4268, although they knew of only two paratypes (one male, one female) in that collection. The name has been attributed to Carne by most subsequent authors (Endrődi 1974, 1985; Carne & Allsopp 1987; Cassis & Weir 1992; Dechambre 2005; Atlas of Living Australia 2018.). Krajcik (2005, 2012) listed it in his scarab checklists but as “bifidus? Carne 1957”.
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10

Stebnicka, ZT, and HF Howden. "Revision of Australian genera in the tribes Aphodiini, Aegialiini and Proctophanini (Coleoptera : Scarabaeidae : Aphodiinae)." Invertebrate Systematics 9, no. 4 (1995): 709. http://dx.doi.org/10.1071/it9950709.

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One tribe, Proctophanini, and one genus, Candezeollus, are described as new. Two subgenera are elevated to generic status: Acrossidius Schmidt and Drepanocanthoides Schmidt. Thirty-six species are described, keyed and illustrated, including 13 new species: Drepanocanthoides canberrae, ACT, NSW, Vic.; D. walpolensis, WA; D. windyensis, WA; Acrossidius brittoni, SA; Candezeollus pseudocandezei, SA, Qld, Vic.; Podotenus kulkpzensis, Vic.; P. tennantensis, NT; Saprus lawrencei, NSW; S. victoriae, Vic.; S. weiri, NSW; Proctophanes anneae, WA; P. caldwellensis, NSW, Qld; P. scrubensis, Qld. One subgeneric and four specific names are synonymised: Acrossoides Schmidt (= Acrossidius Schmidt), Aphodius demarzi Petrovitz, and Aphodius pawoniger Lea (= Drepanocanthoides neglectus Schmidt), Aphodius (Acrossidius) pallidihirtus Balthasar (= Acrossidius tasmaniae Hope), and Aphodius (Nialus) pseudolividus Balthasar (= Aphodius (Nialus) lividus Olivier).
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Дисертації з теми "Weirs Victoria"

1

Weymann, Ulrike. "Intermediale Grenzgänge : "Das Gespräch der drei Gehenden" von Peter Weiss, "Gehen" von Thomas Bernhard und "Die Lehre der Sainte-Victoire" von Peter Handke /." Heidelberg : Winter, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2945442&prov=M&dok_var=1&dok_ext=htm.

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2

Weymann, Ulrike. "Intermediale Grenzgänge Das Gespräch der drei Gehenden von Peter Weiss, Gehen von Thomas Bernhard und Die Lehre der Sainte-Victoire von Peter Handke." Heidelberg Winter, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2945442&prov=M&dok_var=1&dok_ext=htm.

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Книги з теми "Weirs Victoria"

1

Poulton, J. Alexander. Canadians in the Summer Olympics: Canada's athletes, victories, records, controversies, firsts and weird facts. Montreal: OverTime Books, 2008.

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2

Das Weiss öffnen, um das Schwarz hervorkommen zu lassen: Zur Schrift in der Dramatik Victoria Benedictssons und Cecilie Løveids. Frankfurt am Main: P. Lang, 1996.

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3

Intermediale Grenzgänge: Das Gespräch der drei Gehenden von Peter Weiss, Gehen von Thomas Bernhard und Die Lehre der Sainte-Victoire von Peter Handke. Heidelberg: Winter, 2007.

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4

Strange Victoriana: Tales of the Curious, the Weird and the Uncanny from Our Victorians Ancestors. Amberley Publishing, 2018.

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5

Strange Victoriana: Tales of the Curious, the Weird and the Uncanny from Our Victorians Ancestors. Amberley Publishing, 2016.

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6

Me, Better Better. Let's Get Weird: Beautiful Mouse Gift Victorian Era Nature Rat. Independently Published, 2020.

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7

Fawcett, Quinn. Death Wears a Crown: A Mme. Vernet Investigation. Avon Books (Mm), 1993.

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8

Wade, John. Ingenious Victorians: Weird and Wonderful Ideas from the Age of Innovation. Pen & Sword Books Limited, 2016.

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9

Wade, John. Ingenious Victorians: Weird and Wonderful Ideas from the Age of Innovation. Pen & Sword Books Limited, 2016.

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10

Wade, John. Ingenious Victorians: Weird and Wonderful Ideas from the Age of Innovation. Pen & Sword Books Limited, 2016.

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Частини книг з теми "Weirs Victoria"

1

Liggins, Emma, Andrew Maunder, and Ruth Robbins. "Victorian Sensations: Supernatural and Weird Tales." In The British Short Story, 38–65. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-30080-4_3.

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2

Tomaiuolo, Saverio. "The Strange Case of Weir of Hermiston and St. Ives: R. L. Stevenson’s Last Adventures in Narration." In Victorian Unfinished Novels, 79–106. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137008183_4.

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3

Hand, Richard J. "A Grim and Weird Play: Basil Macdonald Hastings’s Victory." In The Theatre of Joseph Conrad, 53–86. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230510531_4.

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4

Kneale, James. "“Indifference Would Be Such a Relief”: Race and Weird Geography in Victor LaValle and Matt Ruff’s Dialogues with H. P. Lovecraft." In Spaces and Fictions of the Weird and the Fantastic, 93–109. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-28116-8_7.

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5

"Weird physics:." In Victorian Alchemy, 120–76. UCL Press, 2022. http://dx.doi.org/10.2307/j.ctv2qnx59x.8.

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6

"Weird creatures in the home." In The Victorian aquarium. Manchester University Press, 2021. http://dx.doi.org/10.7765/9781526151971.00010.

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Luckhurst, Roger. "Gothic, Horror, and the Weird." In The Routledge Companion to Victorian Literature, 83–94. Routledge, 2019. http://dx.doi.org/10.4324/9780429507724-8.

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Waters, Thomas. "Healing Black Magic." In Cursed Britain, 106–38. Yale University Press, 2019. http://dx.doi.org/10.12987/yale/9780300221404.003.0005.

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This chapter explains that, throughout the Victorian era, thousands of magicians made money from the dark arts. The urban fortune-tellers, itinerant Roma women, and powerful characters known as ‘cunning-folk’ are the focus of this chapter. Their weird work could be misleading, downright fraudulent, and outrageously expensive. At the same time, the techniques Victorian magicians used to cure witchcraft did some good for their clients. Unwitching, the practice of removing harmful spells, functioned as a form of cryptic mental health care, which helped despairing people cope with terrible problems. It was all about creating a strong, ardent belief in the reality of mystic powers. This was difficult. Yet it was often better than the paralysing alternative — the awful idea that life's most precious things can be destroyed by mere bad luck.
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"(a) W. Weir, ‘St Giles, Past and Present’, London, edited by Charles Knight, 6 vols, 1841-4, pp. 266-7 (b) Thomas Beames, The Rookeries of London, 1850, pp. 25-43." In The Victorian Novelist, 143–57. Routledge, 2016. http://dx.doi.org/10.4324/9781315626345-30.

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