Bøger om Oceania

"J'ai toujours cru que la mort était synonyme de fin, d'un aller sans retour. A l'évidence, je me trompais. Quand je pense qu'il y a quarante-huit heures, j'étais morte, et que je suis là, assise dans un fauteuil, en vie... Pas à moitié en vie, genre vampire qui joue les boules à facettes au soleil ! Je veux dire, réellement en vie."A la suite d'une rencontre malencontreuse avec un homme qui s'avère être un incube, Anya passe de vie à trépas.Alors qu'elle attend de voir apparaitre la lumière au bout du tunnel, elle se retrouve projetée dans le bureau d'un Ange qui lui annonce que sa mort est une erreur. Cet être céleste lui propose alors de revenir à la vie en échange de dix années de bons et loyaux services auprès d'un être angélique. Elle dispose de vingt-quatre heures pour simuler sa disparition et se rendre à Cork afin d'y être formée à assister un Ange. C'est là que sa nouvelle vie commence et qu'un monde nouveau, bien plus vaste qu'elle ne l'imaginait, lui ouvre ses portes.Très vite, elle entre en service auprès d'Aédan Aingeal, un Gardien aussi craint que respecté.Elle se retrouve alors mêlée à une sombre histoire de disparitions sur laquelle elle devra assister son nouveau patron, au risque d'y laisser quelques plumes.Cette intégrale comprend les romans suivants :1. Première Mort2. Renaissance3. Acceptation

This book takes a timely look at histories of radical Jewish movements, their modes of Holocaust memorialisation, and their relationships with broader anti-colonial and anti-racist struggles. Its primary focus is Australia, where Jewish antifascism was a major political and cultural force in Jewish communities in the 1940s and early 1950s. This cultural and intellectual history of Jewish antifascism utilises a transnational lens to provide an exploration of a Jewish antifascist ideology that took hold in the middle of the twentieth century across Jewish communities worldwide. It argues that Jewish antifascism offered an alternate path for Jewish politics that was foreclosed by mutually reinforcing ideologies of settler colonialism, both in Palestine and Australia.

Australian Western in the Fifties: Kangaroo, Hopalong Cassidy on Tour, and Whiplash looks at Australian Westerns from three points of view-film, personal appearance, and television at the beginning, middle, and end of the 1950s, the American Western's golden age. It looks at three significant but "e;forgotten"e; cases: (1) Kangaroo: The Australian Story, the first Technicolor film made in Australia, produced by the Hollywood movie studio 20th Century Fox, directed by the Academy Award-winning filmmaker Lewis Milestone, starring Maureen O'Hara, Peter Lawford, and Richard Boone. (2) The successful goodwill tour of Australia by the Hollywood actor William Boyd who played the film, radio, and television cowboy Hopalong Cassidy. (3) The British-American produced black-and-white TV series Whiplash, made in Australia and starring the Hollywood actor Peter Graves. The American filmmakers' ignorance of Australia meant they learned the hard way there was more to Australian Westerns than simply replacing the prairie with the bush, bison with kangaroos, and Native Americans with Aboriginals. Indeed, the depiction of place and the presentation of Aboriginal culture are two of the most intriguing aspects of Australian Westerns. In retelling the filmmakers' stories, a unique picture of the Australian film and television industry and everyday life during the 1950s is revealed.  

Australia introduced professional education for social workers thirty years later than much of the developed world. It joined an international movement to set up the new profession and was helped by the well-established American and British social workers. As Australian social work education approaches its centenary in 2029, it is clear that much of the history of the profession has been forgotten or is merely shadowy memory, layered with gossip, cliché and stereotypes rather than facts. Verl Lewis, social work educator and historian, was right when he said that understanding their own history is essential for social workers' self-understanding and self-awareness. Who are the social workers today, and where have they come from? Are they doctors' handmaidens, because of their origins in almoning, or do their connections to the Settlement movement make them radical drivers of change? Perhaps their origins in the Charity Organisation Society mean that they are agents of social control. There is some truth in all these assertions, but the story of Australian social work education is both more complex and more nuanced than this. For Social Betterment tells, for the first time, the history of Australian social work - a story of a fight for standards and the tenacity of a group of women (and a few men) who were determined to improve care and conditions for those most vulnerable in our community. It also reflects on why the rights of women and First Nations peoples were overlooked for so long, and examines the future challenges for social work in Australia.

When Helen Hayward had her two children in London, 25 years ago, she found looking after them easy. Loving and looking after her kids was straightforward. However loving and looking after her home was not. She had long been instructed to put her career first. So she did. Yet what to do with the mushrooming laundry by the bathroom door? And what about if she actually liked cooking? Home Work is a series of personal essays motivated by three questions.Is there an art to running a home?Can it be a satisfying thing to do?Has the work we do around the home - which accounts for roughly a 1/4 of our waking hours - something important to teach us about life itself?

This is the story of Dujuan Hoosan, a 10-year-old Arrernte/Garawa boy. A wise, funny, cheeky boy. A healer. Out bush, his Ngangkere is calm and straight. But in town, it's wobbly and wild, like a snake. He's in trouble at school, and with the police. He thinks there's something wrong with him. Dujuan's family knows what to do: they send him to live out bush, to learn the ways of the old people, and the history that runs straight into all Aboriginal people. So he can be proud of himself. Illustrated by Archibald Prize-winner, Blak Douglas.

Darlinghurst, a triangle of 80 hectares, sits on the edge of Sydney's CBD. Dominated by high rocky ridges on which grand colonial houses were once built, it is bordered in the east by Rushcutters Creek (Boundary Street), which was used by Aboriginal peoples until at least the 1860s, and in the south by a Gadigal pathway (Oxford Street), which traced a route out to the ocean. The colony's first mills were built beside valley streams, which were soon covered over by densely packed rows of terrace houses - homes to workers, artisans and labourers. Shaped by this landscape, and transforming it, a mixture of posh and poor, criminal and respectable, itinerant and established, sick and well have made their lives in Darlinghurst. My Darlinghurst profiles this colourful neighbourhood, revealing the stories of its migrant and Indigenous residents, the razor gangs and brothels, the soldiers and wharfies, and the artists and LGBTQIA+ communities who have made - and continue to make - Darlinghurst their home.

Discover Hawai‘i’s incredible sea life in this fact- and picture-filled book for kids interested in learning about the ocean and life on the coral reef.Before you dive beneath the Pacific waters off the islands of Hawai‘i, take kids on a fun, educational tour of the amazing sea creatures that live on the reefs surrounding O‘ahu, Maui, Kaua‘i, Moloka‘i, Lana‘i, and the Big Island. Kids will learn to easily identify sea creatures while swimming or snorkeling, from colorful butterflyfish and humuhumunukunukuapua‘a to remarkable moray eels and graceful spotted eagle rays. The beautiful full-color photographs and fascinating facts are perfect for learning about ocean life!

Highlighting the creativity and symbolism of covered portraits, this volume explores an intriguing but largely unknown aspect of Italian and Northern European Renaissance art

"The Untamed Thread takes you inside Fleur Woods' contemporary fibre art studio in rural Aotearoa New Zealand, where her practice is as untamed as the natural landscape that inspires her -- free of rules, guided by intuition and joy in the process. Embracing stitch's slow, contemplative nature, connect with your creative spirit through her tips, hints and techniques to reimagine embroidery as a contemporary tool for mark-making.Taking you on a journey through colour, texture, flora, textiles and stitch, alongside the magical moments, happy accidents, perfect coincidences and ridiculous randomness of the artistic process, this is a book for anyone wanting to connect with their inner creative self"--Provided by publisher.

Ende der Sechzigerjahre lebt Ute, die schon früh ihr Heimatdorf am Niederrhein verlassen hat, in der Schweiz. In Luzern fühlt sie sich zu Hause, doch eine wachsende Unrast weckt in ihr den Wunsch nach einem Neuanfang fern von ihrer gewohnten Umgebung. Sie träumt von den USA, kann aber das Geld für den Flug nicht aufbringen. Als sie erfährt, dass Australien jungen Einwanderern aus Europa die Reise ins Land bezahlt, entschließt sie sich, dorthin auszuwandern. Voller Erwartung macht sie sich auf den Weg in ein neues Leben.

Did you know there was a piano on the First Fleet? That the first convict artist was hanged for his trouble? That the first female author here started writing under a man's name? That the King owns the painting of our Federation? And did you know that there was a convict who wrote a dictionary of Australian slang? A man who was transported to Australia a record three times? And what about the world's first full-length feature film? Made in Australia, way back in 1906! These are just some of the many fascinating stories in Imagining Australia: a history of our nation through music, film, literature & art. The history of Australia is incredibly interesting. Often hilarious, sometimes infuriating. Especially when it is told by its artists. Writers, painters, musicians, filmmakers: they hold up a mirror and tell us who we are. They have done that from the start of white occupation. And, of course, long before. Imagining Australia tells a story of our nation through the eyes of people who are trained to see. Artists look at the world around them much more carefully than most of us. And what they see both describes and shapes our nation. In more than 80 well-researched and highly engaging chapters, Imagining Australia looks at our history by discussing movies, paintings, photographs, songs, and books. It puts them in the context of the times they were made, and asks what they say about who we were and who we have become. History and the arts are two sides of the same coin. Each is reflected in the other. Imagining Australia takes you on an extraordinary journey of discovery.

Rembrandt's Lost Secret is a testament to the power of technique to shape artistic expression. Follow master painter Peter Layne Arguimbau on his journey to expose Jan van Eyck's "invention of oil painting" dating back to 1410. This 'invention', Flemish Technique, led to the Golden Age of Dutch Art, ending with the death of the Old Masters and their precious formulas. Over the course of his painting career, Arguimbau searched high and low for the original formulas-- testing period recipes and meticulously comparing his exacting copies to the historical record. Finally, after decades of research, a seemingly miraculous act of God transpired. The result being the recipes outlined in this book for a modern-day equivalent of the Old Master recipes to be shared with the public for the first time. Beyond his enduring search for these lost formulas, this book also positions the development of the Flemish Technique as an overarching metaphor for how innovations in craft drove stylistic inventions for design in Renaissance art. Arguimbau's message is universal: that technology, abstract design and culture are inextricably intertwined. Rembrandt's Lost Secret is a treasure trove of celebratory engagement with that three-centuries-long story of cultural evolution. A master historical work, it will be a manual for painters, an instructive read for the art community, and the curious to experience the Luminist quality of light of the Dutch Masters.

In Muse: Poems from Early Motherhood, Sarah Graham charts the highs and lows of her entry into the world of parenting. Her poems celebrate new motherhood's tremendous sense of joy, euphoria and love, while also recognising the deep challenges and feelings of displacement that this life-changing experience can evoke. Muse seeks to provide comfort for any parent navigating this new world-to act as a thread of commonality between even the most isolated moments of parenthood, to share in the delights and bliss, and above all, to assure new parents that they are not alone.

The purpose of this book is to examine the foreign policy of Jacinda Ardern's New Zealand Government between 2020 and early 2023 when the COVID-19 pandemic intersected with an evolving and often tumultuous post-Cold War global environment. This context witnessed the erosion of an international rules-based order and the renewal of great power competition. In particular, the Indo-Pacific has become a contested strategic space, which impacted on New Zealand's foreign policy interests.As a self-proclaimed small state, New Zealand faced distinct challenges: the Ardern Government formulated a distinctive foreign policy that drew on the success of its handling of the pandemic as well as Aotearoa New Zealand's indigenous values, and emphasised the importance of a good international reputation, strong diplomatic networks, and multilateral cooperation to maintain and grow its influence.This interdisciplinary volume brings together academics, policymakers and practitioners and provides essential reading for anyone interested in how relatively small states such as New Zealand can navigate significant foreign policy challenges in an increasingly complex and contested system of international relations.

This richly illustrated publication examines the last 25 years of the influential Toioho ki Apiti programme at Massey University, its global indigenous pedagogical reach, and its ongoing impacts on national and international contemporary art and cultural sectors. Toioho ki Apiti's transformative and kaupapa Maori-led programme and its pedagogical model is structured around Maori notions of Mana Whakapapa (inheritance rights), Mana Tiriti (treaty rights), Mana Whenua (land rights) and Mana Tangata (human rights) and is unique in Aotearoa. Its staff and graduates, who include Bob Jahnke, Shane Cotton, Brett Graham, Rachael Rakena, Kura Te Waru-Rewiri, Israel Birch and Ngatai Taepa, are some of the most exciting, powerful and influential figures in contemporary art in Aotearoa New Zealand. Through a series of intimate conversations, Ki Mua, Ki Muri describes the unique environment that has helped form them. Professor Ngahuia Te Awekotuku and Nigel Borell write the forewords.

This superbly illustrated history of the people who settled in the many bays of Whakaraupo Lyttelton Harbour is full of finely observed insights into the challenges of living in small, remote communities. Acknowledging the rich history of Te Hapu o Ngati Wheke and their guardianship of this place, the book describes the early history of Maori in the region, as it takes a geographical sweep around the harbour from the signal station at Te Piaka Adderley Head to the lighthouse at Awaroa Godley Head. In between, the stories of the bays and islands of this picturesque and historic harbour are described with fascinating details of early and contemporary life including maritime history and dramatic rescues, farming and trade, wartime experiences and quarantine stations, tourism and recreation.

In November 1830 the protest movement known as the Swing Riots, which had affected many communities across southern England, reached the remote Wiltshire village of Tisbury. There, poverty stricken agricultural workers, facing the loss of their winter income following the introduction of threshing machines, assembled for a demonstration, demanding higher wages and the abolition of the dreaded machinery. This book looks at what happened to these young men, some of whom were arrested, tried and sentenced to transportation to Van Diemen's Land (Tasmania). It follows the pitched battle between the workers and the Hindon Troop of the Wiltshire Yeomanry at Pythouse, the arrests, trials and sentencing. Christina Richard looks at the way the punishment of transportation was managed by the Government, the lives of the young men in the new colony, the return of a very few of them and how their families managed after being left alone and penniless.

In this comprehensive catalogue of the work of the 15th-century painter and draftsman, Stefano da Verona (1375-ca. 1438), Karet reviews past scholarship and corrects old misunderstandings that produced an inconsistent, heterogeneous and misinformed corpus. Her attributions are based on stylistic arguments, technical analysis, and the relationship of the drawings to a limited number of secure paintings by this important Late Gothic North Italian painter. The restricted but sound body of works Stefano da Verona executed is compiled in rich catalogue entries that include discussions of style, iconography, patronage, paper and sketchbook analysis, important issues of workshop production and of the history of drawings and collectionism.

Knocking The Top Off: A People's History of Alcohol in Australia explores the changing nature of drinking in Australia and the role it has played in social and economic life over several generations. From the early days of colonisation through to the contemporary moment this heavily illustrated collection chronicles the ways in which alcohol consumption has impacted on, and been shaped by, changing patterns and notions of class, sexuality, gender, race, and culture. Stripping back dated stereotypes and defying received ideas, more than 20 contributors provide histories, essays and memoirs offering insights into the role of alcohol in creating, and at times derailing, contestation and change. Via short expositions and deep dives into incidents, periods, groups and individuals Knocking The Top Off looks at developments in Australian history from the vantage point of workers and marginalised communities, the exploited and oppressed. Alcohol's often contradictory place as a method of recreation, a means of social control, a symbol of equality and liberation, and a sharp point of debate concerning morality, commerce and health is explored. Similarly, the role of pubs, clubs and other alcohol based venues in fostering trends in music, art, and politics is uncovered, as well as their role as places in which exploitation and discrimination has been both reinforced and challenged. In exploring the who, what, where and why of intoxication this collection delivers an inclusive and incisive alternative history of Australia.

'The majority of poems in The Persistence of History describe Graeme Hetherington's engagement with David Keeling's paintings. As a form of ekphrasis, Hetherington's responses to Keeling's art are rarely detailed descriptions of the paintings themselves, but rather personal responses to the works evoking memories of his own life's circumstances and reflections on the human condition. The subjects of Keeling's "Young Couple in Developing Landscape 1988", "Frontier Foundation 1994" and "To The Island 1989" stimulate memories of the poet's unhappy first marriage by focusing on particular features of the paintings that sharpen the tragedy of that relationship - the movement of the "Glover-eucalypts" that "asphyxiate", the "convict-dug pit" representing the fall into the "hell of splitting up" compounded by the symbolic image of the pitchfork. Similarly, in poems responding to Keeling's "Veil 1991-92", "Gate 1994", "Curios 1999" and "Everything Must Go 2003", Hetherington remembers his mother living in her "insane interior" veiled by drawn blinds and curtains, his "granny" who only lifted the veil of her black hat to terrify the young poet, and the gate at his home's entrance on which he would perch to greet his grandfather after work and which protected him from "Bully-boys living opposite". But more striking is the poet's "reading" in Keeling's paintings of an "ecologically debased / And troubled earth" facing "irreversible defeat" as "the ultimate corpse". The strength of Hetherington's response to this theme is conveyed by brutal imagery depicting the world as a concentration-like gaol in which we "dance with death" in a devastated landscape which has become a "massive mastectomy" of "dry mounds / Arranged in pairs like shorn-off breasts". Hetherington accuses humankind of "fouling" the earth. His depictions of the desecration of the symbols and rituals of the Christian Mass, and his questioning of the nature of Christ's Second Coming in response to Keeling's "Shroud 1994", "The Cunning Fox 1998", "Other Edens 1998" and "Plenty 1994", reinforce the poet's feelings of misanthropy. The poet's ultimate despair for the future of humankind is portrayed in his engagement with Keeling's "The Persistence of History 1994". Using the timeless images of art and the theatre, the poet suggests that conflict, dispossession and murder have always been a part of the human condition, as have people's indifference to such states of being. Confronted by this "theatre of the absurd", the poet finds some reprieve and even redemption in Keeling's two paintings of "The Road 2002" where light appears to create "cooling transparent pools" and ultimately becomes a healing "blaze". - Ralph Spaulding

Ian McFarlane considers poetry to be a conversation with the imagination of anyone prepared to listen. His verse is both free and rhythmic, spanning its own inclusive path. Ian is an award-winning writer of fiction, essays and book reviews. Despite the crippling handicap of anxiety and depression, he has used words and ideas in defence of social justice, the environment and psychological well-being for many years. He now lives in a Canberra retirement village with his wife, Mary.

Tiny Toes Adventures Australia

Wendy's poems and spoken-word pieces trace her thoughts and feelings from a child, through teenage years, young adult years and the challenging, but wonderful, big adult years since.Her poems touch on the environment, her love for animals, the human race and relationships - positive and heart-breaking. There is always a sprinkling of optimism in her words.This collection, "Girl with words - a little bit sandy, a little bit breezy and a lot salty" is the first of her planned annual anthologies and feature a selection of pieces written throughout these decades. Wendy's second poetry collection, "Girl with words - a lot edgy", will be published in 2023.

Falset kort i målestokken 1:1 mio. med register og afstandsstabeller. På bagsiden af kortet er et oversigtskort over nationalparkerne og bykort over Auckland, Wellington, Whangarei, Napier, Gisborne, Taupo, New Plymouth, Kerikeri, Hamilton, Urewera National Park, Rotorua, Palmerston North og Tauranga.

Falset kort i målestokken 2,5 mio. med afmærkning af campingpladser, 24 timers tankstationer, nationalparker, seværdigheder, afstandstabeller samt indeks.