Perpetual motion; comprising a history of the efforts to attain self-motive mechanism, with a classified, illustrated, collection and explanation of the devices whereby it has been sought and why they failed, and comprising also a revision and re-arrangement of the information afforded by "Search for self-motive power during the 17th, 18th and 19th centuries," London, 1861, and "A history of the search for self-motive power from the 13th to the 19th century," London, 1870, by Henry Dircks ...

Mode of access: Internet.

Career counselling in Australia

Historically, perhaps because of its matching process traditions, career counselling has tended to be viewed more simplistically than other fields of counselling. However, in the latter part of the 20th century the career development industry witnessed rapid growth and seems set for a promising future. Such growth has corresponded with irreversible change in the world of work, the emergence of lifelong learning as integral to people's careers, and broader and more holistic definitions of career and career development that have gained widespread acceptance. With the increased influence of constructivism, career counselling has emerged from its vocational guidance origins as a profession in its own right. Increasingly, policymakers are recognizing the importance of career guidance and counselling in assisting to achieve policy goals related to lifelong learning, employment, and social equity. Thus, closer links have been created between policymakers and practitioner associations such as the Australian Association of Career Counsellors (AACC). Such intense focus on career guidance and counselling has also resulted in closer scrutiny of its professional standards and qualifications. Consequently, at the same time as there being increased demand for and interest in career counselling, practitioner associations are faced with issues related to redefining their roles with members, the community, and policymakers. This article will describe the changed context of career counselling, current issues such as standards and accreditation, and redefinition of the profession. The AACC's response to these challenges will be the focus of this article.

Oscar Asche's Modernisms: Flesh, Colour and Light

The article examines the early 20th century Australian actor, theater director, and writer Oscar Asche and how various aspects of his work are expressive of an aesthetic modernism. His theatrical productions with his wife Lily Brayton are discussed, as well as his solo projects like the highly acclaimed musical "Chu Chin Chow." Asche is described as a "vitalist."

Where Do Flappers Fit In?: The Photography of Modern Fashion in Australia

The visual technique of fashion photography is examined which taught Australian women to look modern. Especially fashion photography intervenes ambivalently into the story of Australian modernism and modernity. During 1920s and 1930s within the fashion press there were synergies and differences between commercial fashion photography, celebrity and cinematic portraiture, and social set endorsement. However, modernism was widely acknowledged in Australia during the 1920s through women's spaces, their fashions and culture of department stores.

South African football tours at the turn of the twentieth century:Amateurs, pioneers and profits

Academic and popular studies of South African sport generally reveal a bias towards cricket and rugby and this perpetuates the myth that these games are the most popular in South Africa. This in turn is often viewed through the lens of 'race' in which the simplifications of sport along racial lines occur. This paper argues that football was more important in South Africa among all South Africans in the late 19th and early 20th century than has been previously acknowledged. It reveals that not only was the game important and popular in South Africa but its teams and administrators played a significant role in globalising the game during this period. Tours to and from South Africa were important politically, financially and for sporting reasons. Five ground breaking football tours took place during a ten year period and these serve as the basis of discussion in this paper.

Grito vagabundo : el exilio como alegoría de un trauma histórico en tres novelas latino-canadienses

Cette thèse étudie la façon dont trois romans latino-canadiens utilisent le trope de l’exil comme allégorie d’un trauma historique qui comprend plus que l’expérience individuelle de ses protagonistes : la transition forcée de l’État vers le Marché en Amérique latine effectuée par les dictatures. Cobro revertido (1992) de José Leandro Urbina; Le pavillon des miroirs (1994) Sergio Kokis; et Rojo, amarillo y verde (2003) de Alejandro Saravia, explorent divers aspects de ce processus à travers les exercices de mémoire de leurs personnages. L’exil oblige les protagonistes de ces oeuvres à se confronter aux limites des structures sémiotiques par lesquelles ils essaient de donner un fondement idéologique à leur existence sociale. Ils découvrent ainsi qu’il n’est pas possible de reproduire des hiérarchies, des valeurs, ni des relations de pouvoir de leur pays d’origine dans leur pays d’accueil, non seulement à cause des différences culturelles, mais aussi à cause d’un changement historique qui concerne la relation du sujet avec la collectivité et le territoire. Ces œuvres abordent l’expérience de ce changement par un dialogue avec différents genres littéraires comme le roman de fondation, la méta-fiction historique du Boom, le roman de formation et le testimonio, mis en relation avec divers moments historiques, de la période nationale-populaire aux transitions, en passant par les dictatures. Cela permet aux auteurs de réfléchir aux mécanismes narratifs que plusieurs œuvres latino-américaines du XXème siècle ont utilisé pour construire et naturaliser des subjectivités favorables aux projets hégémoniques des États nationaux. Ces exercices méta-narratifs comprennent le rôle de l’écriture comme support privilégié pour l’articulation d’une identité avec le type de communauté imaginaire qu’est la nation. Ils servent aussi à signaler les limites de l’écriture dans le moment actuel du développement technologique des médias et de l’expansion du capitalisme transnational. Ainsi, les auteurs de ces œuvres cherchent d’autres formes de représentation pour rendre visibles les traces d’autres histoires qui n’ont pas pu être incorporées dans le discours historique officiel.

Travel, back and forth, to the myth. Cinema´s contribution to the formation of the tourist iconography of Mallorca

Mallorca, the largest of the Balearic Islands, is a well-known summer holidays destination; an ideal place to relax and enjoy the sun and the sea. That tourist gaze reflected on postcards results from advertising campaigns, where cinema played an important role with documentaries and fiction films. The origins of that iconography started in the decades of the 1920’s and 1930’s, reflecting the so-called myth of the “island of calm”. On the other hand, the films of the 1950’s and 1960’s created new stereotypes related to the mass tourism boom. Busy beaches and the white bodies of tourists replaced white sandy beaches, mountains and landscapes shown up in the movies of the early decades of the 20th century. Besides, hotels and nightclubs also replaced monuments, rural landscapes and folk exhibitions. These tourist images mirror the social and spatial transformations of Mallorca, under standardization processes like other seaside mass tourist destinations. The identity was rebuilt on the foundations of "modernity". Although "balearization" has not ceased, nowadays filmmaking about Mallorca is advertising again a stereotype close to that one of the 1920s and 1930s, glorifying the myth of the "island of calm". This singular identity makes the island more profitable for capital that searches socio-spatial differentiation in post-fordist times.

Grito vagabundo : el exilio como alegoría de un trauma histórico en tres novelas latino-canadienses

Cette thèse étudie la façon dont trois romans latino-canadiens utilisent le trope de l’exil comme allégorie d’un trauma historique qui comprend plus que l’expérience individuelle de ses protagonistes : la transition forcée de l’État vers le Marché en Amérique latine effectuée par les dictatures. Cobro revertido (1992) de José Leandro Urbina; Le pavillon des miroirs (1994) Sergio Kokis; et Rojo, amarillo y verde (2003) de Alejandro Saravia, explorent divers aspects de ce processus à travers les exercices de mémoire de leurs personnages. L’exil oblige les protagonistes de ces oeuvres à se confronter aux limites des structures sémiotiques par lesquelles ils essaient de donner un fondement idéologique à leur existence sociale. Ils découvrent ainsi qu’il n’est pas possible de reproduire des hiérarchies, des valeurs, ni des relations de pouvoir de leur pays d’origine dans leur pays d’accueil, non seulement à cause des différences culturelles, mais aussi à cause d’un changement historique qui concerne la relation du sujet avec la collectivité et le territoire. Ces œuvres abordent l’expérience de ce changement par un dialogue avec différents genres littéraires comme le roman de fondation, la méta-fiction historique du Boom, le roman de formation et le testimonio, mis en relation avec divers moments historiques, de la période nationale-populaire aux transitions, en passant par les dictatures. Cela permet aux auteurs de réfléchir aux mécanismes narratifs que plusieurs œuvres latino-américaines du XXème siècle ont utilisé pour construire et naturaliser des subjectivités favorables aux projets hégémoniques des États nationaux. Ces exercices méta-narratifs comprennent le rôle de l’écriture comme support privilégié pour l’articulation d’une identité avec le type de communauté imaginaire qu’est la nation. Ils servent aussi à signaler les limites de l’écriture dans le moment actuel du développement technologique des médias et de l’expansion du capitalisme transnational. Ainsi, les auteurs de ces œuvres cherchent d’autres formes de représentation pour rendre visibles les traces d’autres histoires qui n’ont pas pu être incorporées dans le discours historique officiel.

A century of trends in adult human height

Being taller is associated with enhanced longevity, and higher education and earnings. We reanalysed 1472 population-based studies, with measurement of height on more than 18.6 million participants to estimate mean height for people born between 1896 and 1996 in 200 countries. The largest gain in adult height over the past century has occurred in South Korean women and Iranian men, who became 20.2 cm (95% credible interval 17.5–22.7) and 16.5 cm (13.3– 19.7) taller, respectively. In contrast, there was little change in adult height in some sub-Saharan African countries and in South Asia over the century of analysis. The tallest people over these 100 years are men born in the Netherlands in the last quarter of 20th century, whose average heights surpassed 182.5 cm, and the shortest were women born in Guatemala in 1896 (140.3 cm; 135.8– 144.8). The height differential between the tallest and shortest populations was 19-20 cm a century ago, and has remained the same for women and increased for men a century later despite substantial changes in the ranking of countries.

Being There

This 60 minute work looked to challenge traditional expectations of how dancers ‘perform’ and what it means when they are ‘themselves’ onstage. The audience was asked to sit in an ellipse on stage and the dancers were often performing quite close to them. While the audience didn’t move once the work began, the proximity to the dancers allowed them an unusual opportunity to see these dancers deconstructing their own profession and their own world of performance in an intimate environment. This was done for, and with the audience, and for some, it connected them deeply with the performers. For Georg Simmel, an early 20th Century sociologist, ‘the eye of a person discloses his own soul when he seeks to uncover that of another. What occurs in this direct mutual reciprocity is the entire field of human relationships.’ Performer authenticity, while utilised often in film and theatre, is not common in the form of dance. Because of our societal tendency toward the desire for authenticity, and its uncommon usage in dance, an inversion of this convention is one of the many tools that is available to choreographers to form deep connections with their audience and is one that is gaining popularity throughout the world as a form of connection via reality and the immediacy of live performance.