The genus Unixenus Jones, 1944 (Diplopoda, Penicillata, Polyxenida) in Australia

The penicillate genus Unixenus Jones, 1944 is widespread, with species found in Africa, Madagascar, India and Australia. Each of the two Australian species was originally described from single samples from Western Australia. In this study, collections of Penicillata from museums in all states of Australia were examined to provide further details of the two described species, to revise the diagnoses for both the genus and the species, and to better understand the distribution of the two species in Australia. In addition, two new species Unixenus karajinensis sp. n. and Unixenus corticolus sp. n. are described.

Ecological determinism in Australia : tracing the legacy of McHarg downunder and its key precedents

Ecological planning, as advocated by Ian McHarg, filtered extensively through North America following the publication of Design with Nature (1965). The integrated design and planning approach was also advanced by numerous graduates of McHarg's studios at the University of Pennsylvania where this approach was extensively trialled and proven. While a clear synthesis and theoretical framework was articulated and reinforced through a plethora of projects, monographs, and articles, the majority of these perspectives were North American, lacked clarity about the translation of the approach into legal strategic and statutory planning instruments, nor shed light upon what transpired in Australia. This paper reviews the development of the Conservation Plan created for the southern Mornington peninsula in Victoria, Australia, as well as its intent, structure and internal workings as a successful model of ecological statutory planning, in the context of the wider WPRPA activities that draws directly from the McHarg theory. Known as the Conservation Plan for the southern Mornington Peninsula in Victoria, a revolutionary planning structure devised in the early 1970s by several Australian proponents. The Conservation Plan continues in operation today curating a high scenic valued landscape protecting it from intrusion from the growing metropolitan city of Melbourne thus fulfilling its objectives of landscape quality conservation whilst still permitting sympathetic building and land use growth. Contextually, the Conservation Plan appears to be only statutory equivalent translation of the approach internationally other than the Pinelands Commission planning processes in New Jersey.

Four new species of Unixenus Jones, 1944 (Diplopoda, Penicillata, Polyxenida) from Australia

Unixenus carnarvonensis sp. n., U. corringlensis sp. n., U. barrabaensis sp. n. and U. myallensis sp. n. are described from Australia. A revised diagnosis of U. karajinensis and new details on the distribution of the species are given. A key is presented to 10 of all 11 currently known species of the genus.

I had gone to teach but stayed to learn: Geraldine MacKenzie at Aurukun Mission, 1925-1965

This article examines the missionary career of Geraldine MacKenzie who, with her husband Bill MacKenzie, served on the Presbyterian mission at Aurukun on the Cape York Peninsula between 1925 and 1965. It focuses primarily on MacKenzie’s own interpretation of and reflection on her experiences, as described in her memoir, Aurukun Diary. While the memoir elides some of the more controversial features of the MacKenzies’ tenure at Aurukun, it provides insights into the changing nature of missionary theology and practice on Aboriginal missions in the early twentieth century, particularly as they relate to the role of women—both missionaries and mission residents.

The silent screen (1895-1928)

In chapter 1, Victoria Duckett introduces the silent screen years (1895–1927) by investigating the American poet Vachel Lindsay’s claim in 1915 that European stage acting was unsuited to film. This critique held sway for decades, during which commentators celebrated American, as opposed to European, contributions to the new craft of motion picture acting. European acting became associated with mannered staginess in contrast to a more subtle American style. Building on recent scholarship that questions this dichotomy, Duckett skillfully analyzes the screen performances of two women actors: the French Sarah Bernhardt, arguably the most famous late nineteenth-century actor, who electrified theater audiences but made relatively few film appearances, and the American Lillian Gish, who began her career as a child in stage melodramas but whose fame derived from her appearances in films. Duckett’s nuanced reading of Bernhardt’s performance in the film Camille (Film D’Art, 1911) and Lillian Gish’s in Broken Blossoms (D. W. Griffith, 1919) reveals that despite their differences, they both used their bodies expressively to convey meanings and emotions.