Conference Handbook and Program
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Me Israel Aestra JULU 3-QUGUSU 8 1979 Me Israel Assam Founoed Bu A.Z
me Israel Aestra JULU 3-QUGUSU 8 1979 me Israel Assam FOunoeD bu a.z. ppopes JULU 3-aUGUSB 8 1979 Member of the European Association of Music Festivals Executive Committee: Asher Ben-Natan, Chairman Honorary Presidium: ZEVULUN HAMMER - Minister of Education and Culture Menahem Avidom GIDEON PATT - Minister of Industry, Trade and Tourism Gary Bertini TEDDY KOLLEK - Mayor of Jerusalem Jacob Bistritzky Gideon Paz SHLOMO LAHAT - Mayor of Tel Aviv-Yafo Leah Porath Ya'acov Mishori Jacob Steinberger J. Bistritzky Director, the Israel Festival. Director, The Arthur Rubinstein International Piano Master Competition. Thirty years of professional activity in Artistic Advisor — Prof. Gary Bertini the field of culture and arts, as Director of the Department of International The Public Committee and Council: Cultural Relations in the Ministry of Gershon Achituv Culture and Arts, Warsaw; Director of the Menahem Avidom Polish Cultural Institute, Budapest: Yitzhak Avni Director of the Frédéric Chopin Institute, Warsaw. Mr. Bistritzky's work has Mordechai Bar On encompassed all aspects of the Asher Ben-Natan Finance Committee: development of culture, the arts and mass Gary Bertini Menahem Avidom, Chairman media: promotion, organization and Jacob Bistritzky Yigal Shaham management of international festivals and Abe Cohen Micha Tal competitions. Organizer of Chopin Sacha Daphna competitions in Warsaw and International Meir de-Shalit Chopin year 1960 under auspices of Walter Eytan Festival Staff: U.N.E.S.C.O. Shmuel Federmann Assistant Director: Ilana Parnes Yehuda Fickler Director of Finance: Isaac Levinbuk Daniel Gelmond Secretariat: Rivka Bar-Nahor, Paula Gluck Dr. Reuven Hecht Public Relations: Irit Mitelpunkt Dr. Paul J. -
Charles Darwin: a Companion
CHARLES DARWIN: A COMPANION Charles Darwin aged 59. Reproduction of a photograph by Julia Margaret Cameron, original 13 x 10 inches, taken at Dumbola Lodge, Freshwater, Isle of Wight in July 1869. The original print is signed and authenticated by Mrs Cameron and also signed by Darwin. It bears Colnaghi's blind embossed registration. [page 3] CHARLES DARWIN A Companion by R. B. FREEMAN Department of Zoology University College London DAWSON [page 4] First published in 1978 © R. B. Freeman 1978 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the permission of the publisher: Wm Dawson & Sons Ltd, Cannon House Folkestone, Kent, England Archon Books, The Shoe String Press, Inc 995 Sherman Avenue, Hamden, Connecticut 06514 USA British Library Cataloguing in Publication Data Freeman, Richard Broke. Charles Darwin. 1. Darwin, Charles – Dictionaries, indexes, etc. 575′. 0092′4 QH31. D2 ISBN 0–7129–0901–X Archon ISBN 0–208–01739–9 LC 78–40928 Filmset in 11/12 pt Bembo Printed and bound in Great Britain by W & J Mackay Limited, Chatham [page 5] CONTENTS List of Illustrations 6 Introduction 7 Acknowledgements 10 Abbreviations 11 Text 17–309 [page 6] LIST OF ILLUSTRATIONS Charles Darwin aged 59 Frontispiece From a photograph by Julia Margaret Cameron Skeleton Pedigree of Charles Robert Darwin 66 Pedigree to show Charles Robert Darwin's Relationship to his Wife Emma 67 Wedgwood Pedigree of Robert Darwin's Children and Grandchildren 68 Arms and Crest of Robert Waring Darwin 69 Research Notes on Insectivorous Plants 1860 90 Charles Darwin's Full Signature 91 [page 7] INTRODUCTION THIS Companion is about Charles Darwin the man: it is not about evolution by natural selection, nor is it about any other of his theoretical or experimental work. -
North Terrace Campus
A F GRID Physics, Discipline of H7 Physics, G Aboriginal Programs (Wirltu Yarlu) H4 Schulz, L1 Facility Bookings Ph 8313 5151 F7 Union House, L4 Physiology, Discipline of E17 Medical School South, L4 Aboriginal Studies in Music (CASM) H4 Schulz, L6 Financial Services S2 Rundle Mall Plaza, L3 Planning & Performance Reporting S2 Rundle Mall Plaza, L3 Accommodation Service F7 Union House, L4 Forensic Odontology Unit J6 Oliphant, L4 Policy & Appeals, Student L10 Kenneth Wills, L5 Accounts Payable Section S2 Rundle Mall Plaza, L3 French Studies, Department of L14 Napier, L8 Politics & International Studies, Dept. of L14 Napier, G Acute Care Medicine, Discipline of RAH Eleanor Harrald, L5 Population Health, School of R1 178 North Terrace, L11 G Adelaidean Q16 Freemason’s Hall, L2 Post Office K11 Hub Central, L4 Adelaide Graduate Centre W8 115 Grenfell St, L6 Gender Studies & Social Analysis, Prayer Room (Muslim) F7 Union house, L6 Adelaide Health Simulation & Skills Ctre. D17 Medical School North, B Department of L14 Napier, L1 Q11 231 North Tce, G Adelaide Microscopy D17 Medical School North, B General Practice, Discipline of R1 178 North Tce, L11 Professions (Faculty Office) R14 Nexus10 Tower, L11 Adelaide Research & Innovation (ARI) W8 115 Grenfell St, L14 Geography, Environment & Population, Professions First Year Learning Ctre. R14 Nexus10 Tower, G All enquiries visit Adelaide Unicare Pty Ltd R1 178 North Tce, L11 Department of L14 Napier, G Professions Student Hub Q14 Marjoribanks Wing, G&L1 Ask Adelaide Adelaide University Union F7 Union -
European Influences in the Fine Arts: Melbourne 1940-1960
INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole. -
Australians Abroad
AustrAliAns AbroAd Ballet designs by Sidney Nolan and Arthur Boyd Michelle Potter looks at the work of two Australian painters working overseas in the world of theatre and dance he Australian art historian Bernard Smith has pointed out that Tthe 1960s was a significant decade in the development of Australian art. For one thing, he writes, the decade was marked by increased mobility for Australians artists, many of whom travelled overseas. Most headed for London. It was not, Smith says, because they necessarily saw Britain as the centre of the art world but because it was easier to enter the country and live there than anywhere else outside of Australia. At the same time, Australian art was being given an unprecedented amount of space in the British range of sources including the recollections above Albert Tucker (1914–1999) press and on radio and television. As another of Monica Mason, now artistic director of Arthur Boyd and Sidney Nolan, commentator notes, Australian art shown in the Royal Ballet but then a relatively new Arthur Boyd’s Studio, Hampton Lane, London c. 1960 London in the early 1960s was ‘a fresh factor member of the company, whom he selected to gelatin silver print; 40.3 cm x 30.4 cm in [British] awareness of contemporary art’. dance the leading role of the Chosen Maiden. Pictures Collection Of the Australians working in London at Mason had spent her early childhood in South nla.pic-an23609298 Courtesy Barbara Tucker the time, the names Sidney Nolan and Arthur Africa and recalled joining in the ‘stamping Boyd loom large. -
And We Danced Episode 3 Credits
AND WE DANCED WildBear Entertainment, ABC TV and The Australian Ballet acknowledge the Traditional Owners of country throughout Australia and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past and present. EPISODE THREE Executive Producers Veronica Fury Alan Erson Michael Tear Development Producer Stephen Waller INTERVIEWEES Margot Anderson Dimity Azoury Peter F Bahen Lisa Bolte Adam Bull Ita Buttrose AC OBE Chengwu Guo David Hallberg Ella Havelka Steven Heathcote AM Marilyn Jones OBE Ako Kondoo David McAllister AC Graeme Murphy AO Stephen Page AO Lisa Pavane Colin Peasley OAM Marilyn Rowe AM OBE Amber Scott Hugh Sheridan Fiona Tonkin OAM Elizabeth Toohey Emma Watkins Michael Williams SPECIAL THANKS TO David McAllister AC David Hallberg Nicolette Fraillon AM 1 Artists of The Australian Ballet past and present Artists of Bangarra Dance Theatre past and present Orchestra Victoria Opera Australia Orchestra The Australian Ballet School Tony Iffland Janine Burdeu The Wiggles The Langham Hotel Melbourne Brett Ludeman, David Ward ARCHIVE SOURCES The Australian Ballet ABC Archives National Film and Sound Archive Associated Press Getty The Apiary The Wiggles International Arts Newspix Bolshoi Ballet American Ballet Theater FOOTAGE The Australian Ballet Year of Limitless Possibilities, 2020 Brand Film Artists of The Australian Ballet Valerie Tereshchenko, Robyn Hendricks, Dimity Azoury, Callum Linnane, Jake Mangakahia Choreography David McAllister AM Cinematography Brett Ludeman and Ryan Alexander Lloyd Produced by Robyn Fincham and Brett Ludeman Filmed on location at Mundi Mundi Station, via Silverton NSW The Living Desert Sculpture Park, Junction Mine, The Imperial Fine Accommodation, Broken Hill NSW. -
Cit!J If Mefaije..Ftertt-'Y'e ~T-Er
Jtems recomluJ!,u<J~"f"r inc[usicn on a Cit!J ifMefaiJe..ftertt-'Y'e ~t-er ';Dp_artmeat ff CiYJ Pfannitf!p Sp_temPer l'SJ • • • • THE CITY OF ADELAIDE HERITAGE STUDY ITFMS RECOMMENDED FOR INCLUSION ON A CITY OF ADELAIDE HERITAGE REGISTER BY THE LORD MAYOR'S HERITAGE ADVISORY COMMITTEE VOLlME 1 GAWLER WARD (ITEMS WITHIN TOWN ACRES) VOLlME 2 HINDMARSH WARD (ITEMS WITHIN TOWN ACRES) VOLlME 3 GREY WARD (ITEMS WITHIN TOWN ACRES) VOLlME 4 YOUNG WARD (ITEMS WITHIN TOWN ACRES) VOLlME 5 ROBE WARD (ITEMS WITHIN TOWN ACRES) VOLlME 6 MACDONNELL WARD (ITEMS WITHIN TOWN ACRES) VOLlME 7 PARK IANDS (ALL ITEMS oursIDE THE TERRACES - NOT WITHIN TOON ACRES) VOLU1E 8 SUMMARY ANALYSIS OF THE PROPOSED CITY OF ADELAIDE HERITAGE REGISTER. Department of City Planning September 1983. MC: 2 :DCP lOD/C (26/9/83) VOLlME 7 PARK LANDS (ALL ITavtS ourSIDE THE TERRACES - NOT WITHIN TOWN ACRES) 2:DCP10D/D7 TABLE OF CONTENTS VOLlME 7 - PARK LANDS (ALL ITEMS OUTSIDE THE TERRACES - NOT WI THIN TOWN ACRES) PAGE MAP OF THE CITY OF ADELAIDE Showing Location of Items Within the Park Lands (Outside the Terraces - Not Within Town Acres) 1 S lMMARY DOCUMENTATION OF ITEMS 2 Item Number as------ appearing in Volume 8 Table Item and Address 312 2 Parliament House North Terrace 313 4 Constitutional Museum North Terrace 314 6 S.A. Museum, East Wing North Terrace 315 8 S.A. Museum, North Wing North Terrace 316 10 Fmr. Mounted Police Barracks, Armoury and Arch Off North Terrace 317 13 Fmr. Destitute Asylum (Chapel, Store, Lying-in Hospital & Female Section) Kintore Avenue 318 18 State Library - Fmr. -
North Terrace Campus Map Our University Is Smoke-Free
A P GRID Aboriginal Programs (Wirltu Yarlu) H4 Schulz, L1 Evaluation Bio Unit (SA Museum) G8 Darling, L2 Paediatrics, Discipline of WCH+ Rieger, L2 Aboriginal Studies in Music (CASM) H4 Schulz, L6 Examinations Office S2 Rundle Mall Plaza, L3 Parks & Grounds G3 Hartley, B Accommodation Services J10 Hub Central, L4 External Relations D3 250 North Tce, G Petroleum, Aust. School of E14 Santos, G Accounts Payable Section S2 Rundle Mall Plaza, L3 Pharmacology, Discipline of D17 Medical School North, L5 F Acute Care Medicine, Discipline of RAH+ Eleanor Harrald, L5 Philosophy, Department of L14 Napier, L7 Adelaide Enterprise K10 Hughes, L7 Facility / Event Bookings Ph 8313 5151 Physical Sciences, School of H7 Physics, G Adelaide Graduate Centre H4 Schulz, L2 Financial Services S2 Rundle Mall Plaza, L3 Physics, Department of H7 Physics, G Adelaide Health & Medical Sciences AHMS+ North Tce (ref inset) Forensic Odontology Unit J6 Oliphant, L4 Physiology, Discipline of E17 Medical School South, L4 Adelaide Health Simulation & Skills Ctre. D17 Medical School North, B French Studies, Department of L14 Napier, L8 Planning & Analytics S2 Rundle Mall Plaza, L3 All enquiries visit Adelaide Microscopy D17 Medical School North, G,B Future Student Advice L10 Kenneth Wills, L4 Policy & Appeals, Student L10 Kenneth Wills, L5 Ask Adelaide Adelaide University Union (AUU) F7 Union House, L4 Politics & International Studies, Dept. of L14 Napier, G G at Hub Central Adelaide University Union Clubs D6 Lady Symon, G Post Office K11 Hub Central, L4 ADSTAT R14 Nexus10 Tower, L2 Gender Studies & Social Analysis, Prayer Room (Muslim) F7 Union house, L6 8313 5208 Anatomy & Pathology, Discipline of D17 Medical School South, L3 Department of L14 Napier, L1 Professions (Faculty Office) R14 Nexus10 Tower, L11 Anthropology & International Development, General Practice, Discipline of R1 178 North Tce, L11 Professions First Year Learning Ctre. -
NT Learning Adventures Guide
NT Learning Adventures NT Learning Adventures | 1 Save & Learn in the NT Tourism NT recognises that costs and timing are major factors when planning an excursion for your students. The NTLA Save & Learn program provides funding to interstate schools to help with excursion costs - making it easier to choose an NT Learning Adventure for your next school trip. The NT welcomes school groups year round! Go to ntlearningadventures.com to see the current terms and conditions of the NTLA Save & Learn program. Kakadu Darwin Arnhem Land Katherine Tennant Creek For more information and to download Alice Springs a registration form visit: W ntlearningadventures.com Uluru E [email protected] T 08 8951 6415 Uluru Icon made by Freepik. www.flaticon.com is licensed under Creative Commons BY 3.0 2 | NT Learning Adventures Contents Disclaimer This booklet has been produced by Tourism NT NT Learning Adventures 2 to promote the Northern Territory (NT) as an educational tourism destination, in the service of the community and on behalf of the educational Suggested Itineraries 4 tourism sector, to encourage school group visitation to the region. Tour & Travel Operators 12 The material contained in this booklet provides general information, for use as a guide only. It is not Alice Springs Region 27 intended to provide advice and should not be relied upon as such. You should make further enquires and seek independent advice about the appropriateness Learning Adventures 28 of each experience for your particular needs and to inform your travel decisions. Accommodation 36 Climatic conditions and other environmental factors in the NT may impact on travel plans and a person’s ability to engage in activities. -
The Australian Ballet 1 2 Swan Lake Melbourne 23 September– 1 October
THE AUSTRALIAN BALLET 1 2 SWAN LAKE MELBOURNE 23 SEPTEMBER– 1 OCTOBER SYDNEY 2–21 DECEMBER Cover: Dimity Azoury. Photography Justin Rider Above: Leanne Stojmenov. Photography Branco Gaica Luke Ingham and Miwako Kubota. Photography Branco Gaica 4 COPPÉLIA NOTE FROM THE ARTISTIC DIRECTOR Dame Peggy van Praagh’s fingerprints are on everything we do at The Australian Ballet. How lucky we are to have been founded by such a visionary woman, and to live with the bounty of her legacy every day. Nowhere is this legacy more evident than in her glorious production of Coppélia, which she created for the company in 1979 with two other magnificent artists: director George Ogilvie and designer Kristian Fredrikson. It was her parting gift to the company and it remains a jewel in the crown of our classical repertoire. Dame Peggy was a renowned Swanilda, and this was her second production of Coppélia. Her first was for the Borovansky Ballet in 1960; it was performed as part of The Australian Ballet’s first season in 1962, and was revived in subsequent years. When Dame Peggy returned to The Australian Ballet from retirement in 1978 she began to prepare this new production, which was to be her last. It is a timeless classic, and I am sure it will be performed well into the company’s future. Dame Peggy and Kristian are no longer with us, but in 2016 we had the great pleasure of welcoming George Ogilvie back to the company to oversee the staging of this production. George and Dame Peggy delved into the original Hoffmann story, layering this production with such depth of character and theatricality. -
STONE MASONRY in SOUTH AUSTRALIA I DEPARTMENT of ENVIRONMENT and NATURAL RESOUCES Published By
RITAG HE E CP ONSERVATION RACTICE NOTES TECHNICAL NOTE 3.6 STONE MASONRY IN SOUTH AUSTRALIA i DEPARTMENT OF ENVIRONMENT AND NATURAL RESOUCES Published by DEPARTMENT OF ENVIRONMENT AND NATURAL RESOURCES October 1993 ©October Department 1993 of Environment and Natural Resources and David Young © Department of Environment and NovemberNatural Resources; 2007 and David Young Published online without revision DepartmentSeptember 2008 for Environment and Heritage Published online without revision ISSNDepartment 1035-5138 for Environment and Heritage Prepared by State Heritage Branch DesignISSN 1035-5138 by Technical Services Branch TPreparedext and byphotographs State Heritage by BranchDavid Young Design by Technical Services Branch TextDEH andInformation photographs Line by(08) David 8204 Young 1910 Website: www.environment.sa.gov.au DEHEmail: Information [email protected] Line (08) 8204 1910 u Website www.environment.sa.gov.au Email [email protected] Disclaimer WhileCover reasonablephoto: Carved efforts panel have in been Sydney made sandstone. to ensure the contents of this publication are factually correct, Former Marine and Harbours Building, 1884, the Department for Environment and Heritage makes no representations and accepts no responsibility for Victoria Square. the accuracy or completeness of the contents, and shall not be liable for any loss or damage that may be occasioned directly or indirectly through the use of or reliance on the contents of this publication. Printed on recycled paper Cover photo: Carved -
Fall Books 2013 Foreign Rights Edition Christopher A
Chicago FALL BOOKS 2013 FOREIGN RIGHTS EDITION CHRISTOPHER A. LUBIENSKI and SARAH THEULE LUBIENSKI The Public School Advantage Why Public Schools Outperform Private Schools early the whole of America’s partisan politics centers on a single question: Can markets solve our social problems? NAnd for years this question has played out ferociously in the debates about how we should educate our children. Policy makers have increasingly turned to market-based models to help improve our schools, believing that private institutions—because they are competitively NOVEMBER 288 p., 4 line drawings, 28 tables 6 x 9 driven—are better than public ones. With The Public School Advantage, ISBN-13: 978-0-226-08888-4 Cloth $50.00x/£35.00 Christopher A. and Sarah Theule Lubienski offer powerful evidence ISBN-13: 978-0-226-08891-4 Paper $18.00/£12.50 to undercut this belief, showing that public schools in fact outperform E-book ISBN-13: 978-0-226-08907-2 private ones. EDUCATION Decades of research have shown that students at private schools score, on average, at higher levels than students do at public schools. Drawing on two large-scale, nationally representative databases, the Lubienskis show, however, that this difference is more than explained by demographics—private school students largely come from more privileged backgrounds, offering greater educational support. After correcting for demographics, the authors go on to show that gains in student achievement at public schools are at least as great and often greater than those at private ones, and the very mechanism that mar- ket-based reformers champion—autonomy—may be the crucial factor that prevents private schools from performing better.