On the Theme Science, Medicine, and Global
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
311 Sarah Thomas This Lavishly Illustrated Book by Australian
Book Reviews 311 Sarah Thomas, Witnessing Slavery: Art and Travel in the Age of Abolition. London: Paul Mellon Centre for Studies in British Art, 2019. xiii + 286 pp. (Cloth US$55.00) This lavishly illustrated book by Australian art historian Sarah Thomas consid- ers art by European visitors to the Americas between 1760 and 1840. Engag- ing and provocative, it deals mainly with British publications during the hey- day of illustrated book publishing, persuasively arguing that these artworks were deeply influenced by the politics surrounding their production. Thomas focuses throughout on European travelers who drew or painted “on the spot,” actually witnessing slavery and thereby establishing a particular kind of episte- mological authority. Acknowledging that images of the enslaved almost inevitably deny their subjectivity, she insists that such images, when created by eyewitnesses, nonetheless hold special value and a place in the history of art that helps us understand the ways Europeans confronted slavery and aboli- tion. Following an introductory chapter, she considers the eighteenth-century discourse of Sensibility, from philosophy to painting. Beginning with “the sym- pathetic eyewitness” epitomized by John Gabriel Stedman’s self-portrait, stand- ing over his slain Maroon foe (“’Twas Yours to fall—but Mine to feel the wound”), she quickly turns to two leitmotifs of the abolition struggle: the oft- reproduced Am I not a Man and a Brother?, perhaps best known in its Josiah Wedgwood form, and the countless-times reprinted cross-section of the Liver- pool slaver Brookes, tracing revealing histories of both. The bulk of the chapter deals with the ways abolitionism penetrated high art in Britain, considering such paintings as George Morland’s Execrable Human Traffick and John Simp- son’s The Captive Slave. -
Cinnamomum Camphora) in Eastern Australia Brett J
Chapter 14—Australia’s Ever-changing Forests VI: Proceedings of the Eighth National Conference on Australian Forest History. Brett J. Stubbs et al. (ed.). © 2012, ISBN 978-0-9757906-2-5 Saviour to Scourge: a history of the introduction and spread of the camphor tree (Cinnamomum camphora) in eastern Australia Brett J. Stubbs School of Environmental Science and Management, Southern Cross University, Lismore, NSW 2480 Introduction The 50th year commemorative book of Wyrallah Road Public School, in Lismore, New South Wales, records the lopping of camphor trees bordering the school grounds as a ‘milestone’ for 1999. In similar spirit, at Bexhill Public School near Lismore, on World Forestry Day, 26 March 2004, children were told about the need to remove camphor trees and replace them with native species. Palmwoods State School received a Queensland Arbor Day Award in 2005 for the removal from its grounds of an old camphor tree and the transformation of the stump into an artistic wood carving. It is highly incongruous that trees planted in school yards many years before to provide shade and shelter for children, and to beautify their environment, are now being destroyed, not because they are old and unsafe or have grown inconveniently big, but because of a prevailing attitude akin to revulsion which has developed towards the species. The foregoing are just a few examples of the present-day quest for the elimination of camphor trees from the landscape—a quest which is pursued with as much zeal and vigour in parts of eastern Australia as that to reinstate the region’s lost rainforest. -
The Discovery and Mapping of Australia's Coasts
Paper 1 The Discovery and Mapping of Australia’s Coasts: the Contribution of the Dutch, French and British Explorer- Hydrographers Dorothy F. Prescott O.A.M [email protected] ABSTRACT This paper focuses on the mapping of Australia’s coasts resulting from the explorations of the Dutch, French and English hydrographers. It leaves untouched possible but unproven earlier voyages for which no incontrovertible evidence exists. Beginning with the voyage of the Dutch yacht, Duyfken, in 1605-6 it examines the planned voyages to the north coast and mentions the more numerous accidental landfalls on the west coast of the continent during the early decades of the 1600s. The voyages of Abel Tasman and Willem de Vlamingh end the period of successful Dutch visitations to Australian shores. Following James Cook’s discovery of the eastern seaboard and his charting of the east coast, further significant details to the charts were added by the later expeditions of Frenchmen, D’Entrecasteaux and Baudin, and the Englishmen, Bass and Flinders in 1798. Further work on the east coast was carried out by Flinders in 1799 and from 1801 to 1803 during his circumnavigation of the continent. The final work of completing the charting of the entire coastline was carried out by Phillip Parker King, John Clements Wickham and John Lort Stokes. It was Stokes who finally proved the death knell for the theory fondly entertained by the Admiralty of a great river flowing from the centre of the continent which would provide a highroad to the interior. Stokes would spend 6 years examining all possible river openings without the hoped- for result. -
Memoirs of Hydrography
MEMOIRS 07 HYDROGRAPHY INCLUDING Brief Biographies of the Principal Officers who have Served in H.M. NAVAL SURVEYING SERVICE BETWEEN THE YEARS 1750 and 1885 COMPILED BY COMMANDER L. S. DAWSON, R.N. I 1s t tw o PARTS. P a r t II.—1830 t o 1885. EASTBOURNE: HENRY W. KEAY, THE “ IMPERIAL LIBRARY.” iI i / PREF A CE. N the compilation of Part II. of the Memoirs of Hydrography, the endeavour has been to give the services of the many excellent surveying I officers of the late Indian Navy, equal prominence with those of the Royal Navy. Except in the geographical abridgment, under the heading of “ Progress of Martne Surveys” attached to the Memoirs of the various Hydrographers, the personal services of officers still on the Active List, and employed in the surveying service of the Royal Navy, have not been alluded to ; thereby the lines of official etiquette will not have been over-stepped. L. S. D. January , 1885. CONTENTS OF PART II ♦ CHAPTER I. Beaufort, Progress 1829 to 1854, Fitzroy, Belcher, Graves, Raper, Blackwood, Barrai, Arlett, Frazer, Owen Stanley, J. L. Stokes, Sulivan, Berard, Collinson, Lloyd, Otter, Kellett, La Place, Schubert, Haines,' Nolloth, Brock, Spratt, C. G. Robinson, Sheringham, Williams, Becher, Bate, Church, Powell, E. J. Bedford, Elwon, Ethersey, Carless, G. A. Bedford, James Wood, Wolfe, Balleny, Wilkes, W. Allen, Maury, Miles, Mooney, R. B. Beechey, P. Shortland, Yule, Lord, Burdwood, Dayman, Drury, Barrow, Christopher, John Wood, Harding, Kortright, Johnson, Du Petit Thouars, Lawrance, Klint, W. Smyth, Dunsterville, Cox, F. W. L. Thomas, Biddlecombe, Gordon, Bird Allen, Curtis, Edye, F. -
Highways Byways
Highways AND Byways THE ORIGIN OF TOWNSVILLE STREET NAMES Compiled by John Mathew Townsville Library Service 1995 Revised edition 2008 Acknowledgements Australian War Memorial John Oxley Library Queensland Archives Lands Department James Cook University Library Family History Library Townsville City Council, Planning and Development Services Front Cover Photograph Queensland 1897. Flinders Street Townsville Local History Collection, Citilibraries Townsville Copyright Townsville Library Service 2008 ISBN 0 9578987 54 Page 2 Introduction How many visitors to our City have seen a street sign bearing their family name and wondered who the street was named after? How many students have come to the Library seeking the origin of their street or suburb name? We at the Townsville Library Service were not always able to find the answers and so the idea for Highways and Byways was born. Mr. John Mathew, local historian, retired Town Planner and long time Library supporter, was pressed into service to carry out the research. Since 1988 he has been steadily following leads, discarding red herrings and confirming how our streets got their names. Some remain a mystery and we would love to hear from anyone who has information to share. Where did your street get its name? Originally streets were named by the Council to honour a public figure. As the City grew, street names were and are proposed by developers, checked for duplication and approved by Department of Planning and Development Services. Many suburbs have a theme. For example the City and North Ward areas celebrate famous explorers. The streets of Hyde Park and part of Gulliver are named after London streets and English cities and counties. -
459 Newstead House and Capt. Wickham, Rn
459 NEWSTEAD HOUSE AND CAPT. WICKHAM, R.N. (The Centenary of Newstead House was observed this year) {From a paper read by Mr. C. G. Austin at a meeting of The Historical Society of Queensland on February 27th, 1947) Thomas Pamphlett, John Finegan, Richard Par sons, and John Thompson left Sydney on March 21st, 1823, in a sailing craft bound for AUowrah, sometimes called the Five Islands, now known as lUawarra, to col lect cedar. Buffeted by a severe storm they were blown they knew not whither out of their course. Sailing in the wrong direction and suffering great privations for want of water, they sailed many days. John Thompson died. Eventually the remaining three reached the crescentic shore extending between Point Lookout on the north-east corner of Stradbroke Island and Cape Moreton on the north-east corner of Moreton Island. Fresh water was here obtainable, but the boat was wrecked, and they were left with salvaged flour washed ashore that rainy night; they recovered an axe that proved useful to them later. Fortunately the aborigines were hospitable, and they ferried themselves from the island in a native canoe. Barron Fields records in "Geographical Memoirs" that Pamphlett reported that a black man they had seen spoke in good English before he hurriedly dis appeared into the bush. The castaways found a pecuUar canoe which some of Oxley's party at a later date considered to be identical with a New Zealand canoe which was carried by a vessel called the "Echo" which a year or two before had been wrecked on Cato's Reef 300 or 400 mUes further north. -
Revisiting Darwin's Voyage", in Darwin: for the Love of Science (Eds
240 CITE: D. Catling (2009) "Revisiting Darwin's Voyage", in Darwin: For The Love of Science (Eds. A. Kelly and M. Kelly), Bristol Cultural Development Partnership, Bristol, England, pp.240-251. Revisiting Darwin’s Voyage 241 REVISITING DARWIN’S VOYAGE by David Catling ([email protected]) The kauri (Agathis australis) in Charles Darwin’s voyage around the world from 1831 to the Bay of Islands, New Zealand, is a tree of great antiquity whose 1836 on HMS Beagle is one of the greatest journeys of all ancestors arose around 135 million years ago (all photographs in this time and arguably the most important scientific expedition chapter are by the author). ever, given how it changed our fundamental view of nature. My interest in revisiting the landfalls of this voyage was sparked by a conversation some years ago. 242 Darwin: for the love of science Revisiting Darwin’s Voyage 243 A professor of English literature was boasting how students in the arts are directly exposed surveyed South America from 1826-1830. In 1828, in the desolate Magellan Straits, the to the words of the great genius, be it Shakespeare or Dante, whereas science students Beagle’s dejected captain, Pringle Stokes, committed suicide and Fitzroy was promoted to rarely read great scientists directly. Who, after all, reads Newton’s impenetrable Latin command the ship. Later, FitzRoy wrote: tomes? I disagreed: Several notable scientists have left readable accounts of their work, and none more so than Darwin. There may be metal in many of the Fuegian mountains, and I much regret that no person in the vessel was skilled in mineralogy, or at all acquainted with geology. -
4 the Artist Travels: Augustus Earle At
© Copyrighted Material 4 The Artist Travels: Augustus Earle at Sea Sarah Thomas Augustus Earle is considered to be the first independent, professionally-trained artist to have travelled to all five continents. Between his first association with London’s Royal Academy in 1806 and his premature death in 1838, the British artist spent most of his life abroad (Hackforth-Jones 1980, 1–2).1 Yet unlike the generations of artists before him whose Grand Tour itineraries led them across the Continent, Earle spent most of his life sketching and painting in the ‘New World’—the Americas, Asia, Australasia and beyond. At a time when Britain was consolidating its global reach, and a rising leisured class was becoming increasingly curious about the world beyond Europe, Earle exemplified a new type of peripatetic artist whose role was to visualize peoples and places that were largely unfamiliar at home. Given the fact that Earle spent a great deal of time enduring the harsh conditions and tedium of shipboard life, it is perhaps not so surprising to find that this was a subject to which he returned in his watercolour sketches on a number of occasions. What is perhaps more curious is the fact that this highly unusual subject—at least for an oil painting of the period—was the one he chose to work up into a pair of highly detailed canvases for exhibition at the Royal Academy in the year before he died. Earle’s two shipboard paintings, Life in the Ocean Representing the Usual Occupations of the Young Officers in the Steerage of a British Frigate at Sea (Plate 4), and Divine Service as it is Usually Performed on Board a British Frigate at Sea (Figure 4.1) (both c.1820–1837), are among the first British oils to represent life below deck, and they do so with an attention to everyday detail that is unparalleled.2 I shall argue here that they are as resolutely modern as they are unheroic, a far cry from both the exuberant history paintings and the Dutch- inspired genre scenes which continued to dominate British art into the 1830s. -
Great Southern Land: the Maritime Exploration of Terra Australis
GREAT SOUTHERN The Maritime Exploration of Terra Australis LAND Michael Pearson the australian government department of the environment and heritage, 2005 On the cover photo: Port Campbell, Vic. map: detail, Chart of Tasman’s photograph by John Baker discoveries in Tasmania. Department of the Environment From ‘Original Chart of the and Heritage Discovery of Tasmania’ by Isaac Gilsemans, Plate 97, volume 4, The anchors are from the from ‘Monumenta cartographica: Reproductions of unique and wreck of the ‘Marie Gabrielle’, rare maps, plans and views in a French built three-masted the actual size of the originals: barque of 250 tons built in accompanied by cartographical Nantes in 1864. She was monographs edited by Frederick driven ashore during a Casper Wieder, published y gale, on Wreck Beach near Martinus Nijhoff, the Hague, Moonlight Head on the 1925-1933. Victorian Coast at 1.00 am on National Library of Australia the morning of 25 November 1869, while carrying a cargo of tea from Foochow in China to Melbourne. © Commonwealth of Australia 2005 This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without prior written permission from the Commonwealth, available from the Department of the Environment and Heritage. Requests and inquiries concerning reproduction and rights should be addressed to: Assistant Secretary Heritage Assessment Branch Department of the Environment and Heritage GPO Box 787 Canberra ACT 2601 The views and opinions expressed in this publication are those of the author and do not necessarily reflect those of the Australian Government or the Minister for the Environment and Heritage. -
“It's Hard to Keep Track”
―It‘s Hard to Keep Track‖: Mapping a Shifting Nation in Dylan Horrocks‘s Hicksville Hamish Clayton A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature School of English, Film, Theatre & Media Studies Victoria University of Wellington 2009 Contents Acknowledgements 3 Note 4 Abstract 5 Introduction: Local and Special 6 Chapter One: Local Heroes 14 Chapter Two: Going Global 36 Chapter Three: Local Knowledge 58 Chapter Four: Art as Comics as Taonga 84 Chapter Five: Mapping Hicksville 105 Conclusion: Standing Upright Here 123 Works Cited 128 2 Acknowledgements I would like to offer special thanks to my primary supervisor, Mark Williams, whose enthusiasm for this project has been boundless. Without his friendship and guidance I would not have been able to write the thesis I wanted to write. Thanks also to Tina Barton, my Art History supervisor, for her support throughout. I would like to thank the staff of both English and Art History programmes at Victoria University for their extended support and friendship over the last five years, as well as that of my former colleagues at Victoria University‘s Student Learning Support Service. I gratefully acknowledge the financial support of the University, and the provision of a Scholarship for Masters study 2008-09. I am indebted to Dylan Horrocks, who very generously sent me copies of his comics no longer available for purchase in shops or online. Thanks also to the many friends and family who have supported me immeasurably. In particular, Stephen McDowall, whose professionalism and achievements have been an inspiration; Kirsten Reid, whose unconditional support and enthusiasm have been truly invaluable; and Rosie Howell, for her unwavering faith in me. -
Tristan Da Cunha New Books
Miles Apart New and secondhand books on the South Atlantic islands and the Antarctic Ian Mathieson, Callender House, 90, Callender Street, Ramsbottom, Lancs BL0 9DU, UK Tel: 01706-826467 E-Mail: [email protected] LIST No 37 June 2017 Ascension Page 2 Misc. Voyages, Islands and Ships Pages 20-26 St Helena Pages 3-8 Picairn Island Page 25 Napoleon & St H Pages 8-13 Falkland Islands Pages 27-32 Tristan da Cunha Pages 14-20 Antarctica Pages 32-40 Most of my business is by mail order from a private house. Callers welcome by appointment. If you are phoning, evenings and weekends are best. During the day, apologies, but you may often get the answerphone; I will try to phone you the same evening. Numbers marked with a square are newly published titles or new books re-offered at reduced prices. TERMS AND CONDITIONS OF SALE Postage: Prices include p&p in the UK. For other destinations please enquire by email Payment: New customers payment with order please. Visa and Mastercard accepted. I can accept payment in Sterling. CHEQUES SHOULD BE MADE PAYABLE TO IK MATHIESON. All cheques not payable in sterling or drawn on a UK bank account have an £8 service charge. Cash payments should be sent registered post. Payments can also be made by on line bank transfer. Account Name: I K Mathieson, Bank: First Direct, Sort Code 40-47-83. Account Number: 63832031. Please quote your name as a reference. All items can be returned within one week of sale if not satisfactory. Although I expect to maintain the price of items listed until I issue the next list, I reserve the right to alter prices of items without notice. -
Conrad Martens and Burragalong Cavern
Art Appreciation Lecture Series 2017 Site Specific: The power of place Conrad Martens and Burragalong Cavern Dr Kathleen Davidson 29/30 March 2017 Lecture summary: Conrad Martens’ landscape paintings represent some of the great masterpieces of Australian colonial art. Among the lesser-known works within Martens’ oeuvre are the paintings and drawings of caves he produced during the 1840s. Martens’ paintings of Burragalong Cavern were reviewed harshly by critics in the artist’s own time. This lecture explores Martens’ early connections with scientific figures, discoveries and practices of the day, and their influence on his approach to the cave paintings and the viewer’s reception of them. Slide list: 1. Nineteenth-century Australian Art Galleries, Art Gallery of NSW 2. Map showing Abercrombie Caves and Wellington Caves, NSW 3. Conrad Martens, Stalagmites, Burragalong Cavern, 1843, oil on cardboard, 40.6 x 53.3 cm. Art Gallery of NSW 4. a) Conrad Martens, Interior of the Burrangalong [Abercrombie] Cavern, c.1843-49, oil on canvas, 60.5 x 88.2 cm. State Library of NSW; b) Conrad Martens, [Northern Entrance] Burrangalong Cavern, Rockbridge Creek, c. 1849, oil on canvas, 42.1 x 58.7 cm. State Library of NSW; c) Conrad Martens, Stalagmite Columns at the Southern Entrance of the Burrangalong Cavern, 1843, oil on canvas, 42.1 x 58.7 cm. Art Gallery of South Australia 5. a) Maull and Polyblank, Charles Darwin, c.1855, albumen silver photograph, from the Literary and Scientific Portrait Club, 20.0 x 14.6 cm. National Portrait Gallery, London; b) Conrad Martens, On board HMS Beagle (self-portrait), June 1834, pencil on grey paper, 13.5 x 10.4cm.