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Penny 1 - 64 5 Penny 65 - 166 15 Threepence 167 - 221 32 4 1914 Halfpenny (Obv 1/Rev A)
LOT 8 LOT 15 LOT 100 LOT 180 Stunning! That was my first impression of this fantastic collection. So many superb grade coins, superb strikes, wonderful old tone, beautiful eye appeal, in a word - sexy… the list of superlatives goes on. Handling a Complete Collection such as the Benchmark Collection is a once in a lifetime opportunity, and we are proud to present this magnificent collection, in conjunction with Strand Coins (who have compiled it over many years with the current owner). We have included many notes and comments by Mark Duff of Strand Coins due to his intimate knowledge of every coin and it’s provenance, as well as a comprehensive, never before released illustrated “Key” to each and every coin Obverse and Reverse die type. As such, the catalogue, the information and images it contains will truly become a Benchmark in their own right. The quality of the George V coins right across the board is simply unbeatable, the Florins contain so many breathtaking coins, the Silver issues are all struck up, the Copper has many amazing coins, and most of the “Varieties” are amongst the finest, if not the finest known. The grading by NGC is very even across every lot, and if anything, is sometimes conservative given the genuine superb quality of the collection. We are proud to offer this complete “Benchmark” collection, the likes of which may not be seen on the market ever again. Viewing In Sydney: Monday 5th to Saturday 10th January 2015, Strand Coins, Ground Floor Shop 1c Strand Arcade, 412-414 George St, Sydney NSW 2000 10am to 5pm. -
A Penny All the Way
SECOND BRITISH g q [\ ] £ Ţ EDITION. A PENNY ALL THE WAY THE STORY OF PENNY POSTAGE BY FRED. J. MELVILLE PRESIDENT OF THE JUNIOR PHILATELIC SOCIETY LONDON : 4 7, S trand. W. C f— 7 l£t * S 'J Photo] [ Passano. THE RIGHT HON. SYDNEY BUXTON M.P. A P e n n y a l l t h e W a y . INTRODUCTORY. n preparing this short story of penny postage at a time when popular interest in the subject is aroused by the inauguration of penny postage between Great Britain and the United States, the writer has given his chief attention to the more obscure phases of the develop ment of the idea of penny postage. Rowland Hill and his great struggle to impress both the Post Office and the Treasury officials with the main arguments in favour of Uniform Penny Postage are matters which are dealt with in our histories. But of his namesake, John Hill, who tried hard to induce the Council of State to look favourably upon a similar plan nearly two hundred years earlier, nothing is known. The name of William Dockwra is known only to students of postal history and to philatelists. Yet he established and conducted what was in many senses a better system of local postage in London in 1680, at the rate of one penny per letter, than was in existence in 1840. After Rowland Hill came one Elihu Burritt, “ the learned blacksmith,” whose memory is cherished in the United States, and who, long before his own country had adopted Uniform Penny Postage, urged Great Britain to give the world what he termed “ Ocean Penny Postage,” which was different to, yet anticipatory of, Imperial Penny Postage and Universal Penny Postage, which became the questions of later years. -
First Session, Commencing at 9.30 Am MISCELLANEOUS AUSTRALIAN
11 First Session, Commencing at 9.30 am Edward VII - Elizabeth II, penny, 1925; threepence, 1910; shilling, 1915H; florins, 1927 Canberra, 1943S, 1951 Jubilee (3), 1953, 1954 Royal Visit, 1957, 1961. Good - uncirculated. (13) $150 12 MISCELLANEOUS AUSTRALIAN COINS George V - Elizabeth II, fl orins, 1918M impressed on obverse 'Sir Charles Hotham' (VG reverse damaged), 1927 Canberra, 1943S, 1954 Royal Visit; shillings, 1943 (VF), 1961-1963; sixpence, 1954; threepences, 1910, 1921M (VF), 1962-1964. 1 In three brand new Supreme albums, uncirculated unless George V, shilling, 1917M; halfpenny, 1930. Attractively otherwise indicated. (14) toned extremely fi ne/good very fi ne; cleaned very fi ne. (2) $250 $50 13 2 George V - Elizabeth II, fl orins, 1927 Canberra (2); sixpence, George V, threepence, 1936; fl orin, 1936. Extremely fi ne; 1922; threepences, 1923 (2); also varieties, fl orins, 1946 mottled toning on obverse, nearly extremely fi ne. (2) large 6 and die cracks, 1951 Jubilee fl orin with die cracks; $70 sixpences, 1928 upright 8, 1934 (3, two with wide date, 3 one with tilted 4); threepences, 1924 dot under emu's tail, George VI, threepence - fl orin, set of four, 1938. The shilling 1934/3 overdate, 1934 arrow close to 4. Very good - very nearly uncirculated, the rest uncirculated, all with mint fi ne. (14) bloom. (4) $100 $200 14 4 Australian medalets, and world issues, also a few tinnies, George V - George VI, penny, 1946; halfpennies, 1914, noted an Irish love token of a gilt Queen Victoria farthing 1930, 1942. The fi rst cleaned now retoning, otherwise very with a green enamel shamrock inset on each side, also silver good - very fi ne. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Download This Volume In
Sederi 29 2019 IN MEMORIAM MARÍA LUISA DAÑOBEITIA FERNÁNDEZ EDITOR Ana Sáez-Hidalgo MANAGING EDITOR Francisco-José Borge López REVIEW EDITOR María José Mora PRODUCTION EDITORS Sara Medina Calzada Tamara Pérez Fernández Marta Revilla Rivas We are grateful to our collaborators for SEDERI 29: Leticia Álvarez Recio (U. Sevilla, SP) Adriana Bebiano (U. Coimbra, PT) Todd Butler (Washington State U., US) Rui Carvalho (U. Porto, PT) Joan Curbet (U. Autònoma de Barcelona, SP) Anne Valérie Dulac (Sorbonne U., FR) Elizabeth Evenden (U. Oxford, UK) Manuel Gómez Lara (U. Seville, SP) Andrew Hadfield (U. Sussex, UK) Peter C. Herman (San Diego State U., US) Ton Hoensalars (U. Utrecth, NL) Douglas Lanier (U. New Hampshire, US) Zenón Luis Martínez (U. Huelva, SP) Willy Maley (U. Glasgow, UK) Irena R. Makaryk (U. Ottawa, CA) Jaqueline Pearson (U. Manchester, UK) Remedios Perni (U. Alicante, SP) Ángel Luis Pujante (U. Murcia, SP) Miguel Ramalhete Gomes (U. Lisboa, PT) Katherine Romack (U. West Florida, US) Mary Beth Rose (U. Illinois at Chicago, US) Jonathan Sell (U. Alcalá de Henares, SP) Alison Shell (U. College London, UK) Erin Sullivan (Shakespeare Institute, U. Birmingham, UK) Sonia Villegas (U. Huelva, SP) Lisa Walters (Liverpool Hope U., UK) J. Christopher Warner (Le Moyne College, US) Martin Wiggins (Shakespeare Institute, U. Birmingham, UK) R. F. Yeager (U. West Florida, US) Andrew Zurcher (U. Cambridge, UK) Sederi 29 (2019) Table of contents María Luisa Dañobeitia Fernández. In memoriam By Jesús López-Peláez Casellas ....................................................................... 5–8 Articles Manel Bellmunt-Serrano Leskov’s rewriting of Lady Macbeth and the processes of adaptation and appropriation .......................................................................................................... -
Shakespeare Survey 71 Volume 71 Index More Information
Cambridge University Press 978-1-108-47083-4 — Shakespeare Survey 71 Volume 71 Index More Information INDEX Aarons, Wendy 157n34 Arsi ´c,Branka 105–6 Barlow, Graham 138, 141 Aasand, Hardin L. 222n9, 228n39 Ashby, Stephen 338 Barnes, Jennifer 383, 384, 387 Abad, Ricardo 29, 30–1, 32 Ashcroft, Peggy 126 Barnes, Todd Landon 78n19 Abrams, David 161n51 Ashford, Rob 354, 358, 360 Barnfield, Richard 235 Abu Hassan 95n42 Ashton, Frederick 170, 175–6, 180–2, Barr, Gordon 345, 349 Ackermann, Zeno 89n3 183, 184–5, 352 Barrit, Desmond 115–16, 117Illus.17, Adamson, Matthew 277n10 Ashton, Louisa 316 123, 124Illus.23 Adegbola, Stefan 314 Askew, Marc 280n15, 280n16, 286n40, Bartels, Emily C. 269n11 Adelakun, Joseph 313Illus.53 289n48 Bartha, Katalin Agnes 94n38 Adorno, Theodor 166 Aspley, William 243, 244, 249 Bartlett, Mike 386 Aeschylus 238 al-Assadi, Jawad 37 Bartolovich, Crystal 372 Agamben, Giorgio 279, 291 Astington, John H. 156n32, 222n10, Bartoshevich, Aleksey 89, 97 Aitken, Charles 315 366–7, 376 al-Bassam, Sulayman 37, 38 Akala (rapper) 77 Atherton, Kristin 312, 313Illus.53 Bassi, Shaul 373, 376 Akane, Ryouhei 216 Atkins, Eileen 359 Basu, Dipannita 77n13 Akinlude, Layo-Christina 325Illus.58, Atkins, Robert 378, 379, 387 Bate, Jonathan 225n28, 231n53 325 Attenborough, Michael 123 Bauer, Jared 77 Alaimo, Stacey 156 Attwell, Harry 321 Beale, Simon Russell 356 Albanese, Denise 365 Auslander, Philip 168n15 Bealey, Chris 348 Albina, Nadia 318 Avramov, Roumen 93n28 Beau, Dicky 337–8 Alexander, Gavin 235, 240n45, 252 Beaumont, Francis 143n31, 145, 204, -
2008, WDA Global Summit
World Dance Alliance Global Summit 13 – 18 July 2008 Brisbane, Australia Australian Guidebook A4:Aust Guide book 3 5/6/08 17:00 Page 1 THE MARIINSKY BALLET AND HARLEQUIN DANCE FLOORS “From the Eighteenth century When we come to choosing a floor St. Petersburg and the Mariinsky for our dancers, we dare not Ballet have become synonymous compromise: we insist on with the highest standards in Harlequin Studio. Harlequin - classical ballet. Generations of our a dependable company which famous dancers have revealed the shares the high standards of the glory of Russian choreographic art Mariinsky.” to a delighted world. And this proud tradition continues into the Twenty-First century. Call us now for information & sample Harlequin Australasia Pty Ltd P.O.Box 1028, 36A Langston Place, Epping, NSW 1710, Australia Tel: +61 (02) 9869 4566 Fax: +61 (02) 9869 4547 Email: [email protected] THE WORLD DANCES ON HARLEQUIN FLOORS® SYDNEY LONDON LUXEMBOURG LOS ANGELES PHILADELPHIA FORT WORTH Ausdance Queensland and the World Dance Alliance Asia-Pacific in partnership with QUT Creative Industries, QPAC and Ausdance National and in association with the Brisbane Festival 2008 present World Dance Alliance Global Summit Dance Dialogues: Conversations across cultures, artforms and practices Brisbane 13 – 18 July 2008 A Message from the Minister On behalf of our Government I extend a warm Queensland welcome to all our local, national and international participants and guests gathered in Brisbane for the 2008 World Dance Alliance Global Summit. This is a seminal event on Queensland’s cultural calendar. Our Government acknowledges the value that dance, the most physical of the creative forms, plays in communicating humanity’s concerns. -
Page Column Line Action
136 D.J. Cale et al. Corrigenda Abbott, I. (1999). The avifauna of the forests of southwest Western Australia: Changes in species composition, distribution and abundance following anthropogenic disturbance. CALMScience Supplement No. 55, 1-175. The following corrections should be noted: TEXT PAGE COLUMN LINE ACTION 2 2 4-5* Delete reference to Keartland collecting in forests in 1895 near King George Sound 6 1 31** Change ?1905 to 1907 6 1 32** Change ?1906 to 1907 31 1 18** Change Figure 3 to Figure 4 44 2 20* Change Storr 199 to Storr 1991 67 1 13* Change 1829 to 1830 97 2 5* Change Zoologishe to Zoologische * counting from bottom of page, ** from top TABLES PAGE ACTION 140 The rows Leipoa ocellata, Coturnix novaezelandiae and Coturnix ypsilophora are out of sequence. Place them after Dromaius novaehollandiae, as is the case elsewhere in Table 2. 148 (No. 41) Change 102 to 10 and 500 to 2 500 149 (No. 45) Change 201 to 20 and 750 to 1 750 152 (Meliphaga virescens) ‘Brown’ in column 1 belongs in column 3 156 The dots in rows Merops ornatus through to Smicrornis brevirostris should commence immediately from under the column headed W List of Referees The Science Publications Unit expresses grateful appreciation for the contributions made by the following reviewers (as well as a small number who preferred to remain anonymous) of manuscripts for publication in Conservation Science Western Australia Volume 4 2001-2002 Ray Bird, Tourism Consultant, Perth. Jonathan Brand, Forest Products Commission, Perth. Dr Penny Butcher, CSIRO, Forestry and Forest Products. -
Audition Special Navigating the European Dance “ I Adored the Company Trail Partnership I Had with Robert My Memorable Curran...” – Lucinda Dunn, P
IssuE 192 JuNE / JuLy ’14 danceaustralia.cOm.Au Tamara Rojo, Carlos Acosta, Stephen McRae Guest stars in ‘Romeo & Juliet’ InspIrIng! The Youth America Grand Prix Well judged: SYTYCD’s Aaron Cash Audition speciAl Navigating the European dance “ I adored the company trail partnership I had with Robert My memorable Curran...” – Lucinda Dunn, p. 50 audition $7.95 / NZ $8.50 (incl. GST) PRINT POST APPROVED 100005330 04 9 770159 633008 22 / Feature auditions can be the most important event in a dancer’s career: the doorway to a new job, a new country, a new life. Below, dancers share their most memorable auditions with us. My MeMorable audition Brooke Widdison-Jacobs Principal Dancer West Australian Ballet I had been dancing in Europe for a few years when my travels took me to London to audition for the English National Ballet. As I stood amid the chaos of London commuters on the Piccadilly Line tube, I noticed sitting across from me another dancer, easily recognisable as he sat massaging his calf muscles! I quickly discovered that he was with the Royal Ballet of Flanders in Antwerp, Belgium. The company just happened to be performing at the Sadler’s Wells Theatre in London. It seemed meant to be, so the next day I found myself outside Sadler’s Wells waiting to join company class. As I had not contacted the company to pre-arrange my audition, the only way to get past security was to be smuggled into class between two racks of costumes. No easy task, but with a bit of distraction from the dancer I had met on the tube and the good fortune of incredibly large costumes, I successfully slipped right past all security checks and into what was already becoming my most memorable audition. -
Gender Inequity in Achievement and Acknowledgment in Australian Contemporary Dance
Edith Cowan University Research Online Theses : Honours Theses 2009 Architects of the identity of dance: Gender inequity in achievement and acknowledgment in Australian contemporary dance Quindell Orton Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Dance Commons, and the Gender and Sexuality Commons Recommended Citation Orton, Q. (2009). Architects of the identity of dance: Gender inequity in achievement and acknowledgment in Australian contemporary dance. https://ro.ecu.edu.au/theses_hons/1331 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1331 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
2000 Dance Graduation Performance of Human Terrain Program Introduction
2000 Dance Graduation Performance Of Human Terrain Program Introduction In a world of multi-media and virtual reality, with its exciting potential for unimagined worlds to be developed, it is not Blood on the Moon accidental that the title of our 2000 Graduation Season is by Harold Collins MBE Of Human Terrain. Despite the advances of technology and the amazing differences it make to our lives, now more than ever, live human interaction and the achievements of the human body and spirit are being celebrated - as we INTERVAL have recently done in the Sydney Olympics, albeit for most 30 minutes of us via our television screens. Video in foyer Tonight you will see both digital and live dance. In the foyer Choreographers : John Utans I Lisa Wilson you can enjoy a continuous screening of solos danced by all Performed by AD1, AD2, BA1 /2/3 Performance our performance students, choreographed by John Utans Students and Lisa Wilson. Inside the theatre you will experience live performances by these same students. Unlike our first season Dance Bytes, which was an eclectic array of short pieces, the graduation season this year presents two Of Human Terrain substantial works by two experienced and acclaimed by Leigh Warren Australian choreographers. The first, in a classical style, is choreographed by Harold Collins, whose legacy to dance in Queensland is not to be underestimated. Most people understand the stringent requirements of classical ballet even if they do not attend it My thanks to the many talented artists and teachers who have regularly- the difficulty of standing 'en pointe', of maintaining worked with us throughout the year to train these graduates. -
Ausdance Queensland Inc. Annual Report 2017
AUSTRALIAN DANCE COUNCIL – AUSDANCE (QLD) INC Ausdance Queensland Inc. Annual Report 2017 Australian Dance Council Ausdance (Qld) Inc. 420 Brunswick Street Fortitude Valley Qld 40066 [email protected] www.ausdanceqld.org.au ABN 46 089 780 388 1 AUSTRALIAN DANCE COUNCIL – AUSDANCE (QLD) INC CONTENTS ABOUT AUSDANCE QUEENSLAND pg 3 FROM THE CHAIR/PRESIDENT pg 4 EXECUTIVE DIRECTORS REPORT pg 6 AUSDANCE EDUCATORS QUEENSLAND pg 9 THANK YOU pg 11 ATTACHMENT – AUDITED FINANICAL REPORT YEAR END 2017 2 AUSTRALIAN DANCE COUNCIL – AUSDANCE (QLD) INC ABOUT AUSDANCE QUEENSLAND Mission Ausdance Queensland supports, informs and connects dance professionals, and inspires participation that enriches communities with dance. Vision The Queensland dance sector develops and thrives within an environment where artists can explore, excel and enjoy sustainable careers; communities can see and participate in dance; and where dance is Background The association was established in 1992 and provides professional advocacy and industry development for Queensland dance through strong local, regional, national and international networks. We work to bring recognition to the many roles that dance plays in the cultural life of Queensland and to maximise opportunities for practitioners. Our services and programs address the needs of dance artists at any stage of their careers, community dance practitioners, educators and the broader community in relation to dance. We are the state dance industry's primary advocate and advisory representative in regards to government policy, sector planning and industry initiatives. Ausdance Queensland is supported by the Queensland Government through Arts Queensland, part of the Department of Premier and Cabinet with four year organization funding for 2017 – 2019.