South-East elevation, Brannigan House, St Lucia, Brisbane

Facing rear of site.

South-East elevation, Brannigan House, St Lucia, Brisbane

Facing rear of site.

Balustrade detail, Brannigan House, St Lucia, Brisbane

Rigging screw tensioners to balustrade wire, central deck (North-East elevation).

Deck, Brannigan House, St Lucia, Brisbane

As seen from living room interior, looking through to deck and kitchen beyond.

Balustrading to deck, Brannigan House, St Lucia, Brisbane

Curved steel and stainless steel wire balustrade to central deck area (North-East elevation).

Kitchen servery to deck, Brannigan House, St Lucia, Brisbane

Corner of kitchen opens to deck via a series of folding windows.

Lower level floor plan, Brannigan House, St Lucia, Brisbane

Hand-drawn floor plan.

(FAB05_058) The cathedral precinct: ideal and contingency

Henry-Russell Hitchcock, in his review of High Victorian Gothic architecture in Australia, writes that the Anglican Cathedral in Brisbane is perhaps the finest. John Loughborough and Frank Loughborough Pearson's designs for Brisbane embody the full ideal of the nineteenth-century English cathedral. While the ideal represented in the cathedral church itself might be readily appreciated, the more encompassing ideal for housing an entire Anglican cathedral establishment may be less well known and less apparent on the site. Although it is only partly built, St John's is probably the only Anglican cathedral in Australia with a comprehensive nineteenth-century precinct plan.

Druckfehler, Ergänzungen und Verbesserungen im Kommentar zu den Oden Salomos

There are quite a few typographical errors and omissions in Michael Lattke's ARC-funded German commentary on the Odes of Solomon. Most of them were discovered by Marianne Ehrhardt while she translated the manuscript into English for the Hermeneia commentary series: Lattke, Michael (2009). Odes of Solomon : a commentary. Fortress Press, Minneapolis, MN.

The People's Stage in Imperial Germany: Social Democracy and Culture 1890-1914

The clash between German Social Democracy--the party, intellectuals and workers--and the German Imperial State was played out in the Freie Volksbahne (Free People's Theatre) founded by intellectuals to energise working class political awareness of drama with a political and social cutting edge. It fell foul of state censorship, lost its bite, yet prospered.

The politics and ethics of relocated art

At the end of Word War II, Soviet occupation forces removed countless art objects from German soil. Some of them were returned during the 1950s, but most either disappeared for good or were stored away secretly in cellars of Soviet museums. The Cold War then covered the issue with silence. After the collapse of the Soviet Union, museums in St Petersburg and Moscow started to exhibit some of the relocated art for the first time in half a century. The unusual quality of the paintings-mostly impressionist masterpieces-not only attracted the attention of the international art community, but also triggered a diplomatic row between Russia and Germany. Both governments advanced moral and legal claims to ownership. To make things even more complicated, many of the paintings once belonged to private collectors, some of whom were Jews. Their descendants also entered the dispute. The basic premise of this article is that the political and ethical dimensions of relocated art can be understood most adequately by eschewing a single authorial standpoint. Various positions, sometimes incommensurable ones, are thus explored in an attempt to outline possibilities for an ethics of representation and a dialogical solution to the international problem that relocated art has become.