PTF11iqb: cool supergiant mass-loss that bridges the gap between Type IIn and normal supernovae

PTF11iqb was initially classified as a TypeIIn event caught very early after explosion. It showed narrow Wolf-Rayet (WR) spectral features on day 2, but the narrow emission weakened quickly and the spectrum morphed to resemble those of Types II-L and II-P. At late times, Halpha emission exhibited a complex, multipeaked profile reminiscent of SN1998S. In terms of spectroscopic evolution, we find that PTF11iqb was a near twin of SN~1998S, although with weaker interaction with circumstellar material (CSM) at early times, and stronger CSM interaction at late times. We interpret the spectral changes as caused by early interaction with asymmetric CSM that is quickly (by day 20) enveloped by the expanding SN ejecta photosphere, but then revealed again after the end of the plateau when the photosphere recedes. The light curve can be matched with a simple model for weak CSM interaction added to the light curve of a normal SN~II-P. This plateau requires that the progenitor had an extended H envelope like a red supergiant, consistent with the slow progenitor wind speed indicated by narrow emission. The cool supergiant progenitor is significant because PTF11iqb showed WR features in its early spectrum --- meaning that the presence of such WR features in an early SN spectrum does not necessarily indicate a WR-like progenitor. [abridged] Overall, PTF11iqb bridges SNe~IIn with weaker pre-SN mass loss seen in SNe II-L and II-P, implying a continuum between these types.

Stars are made of glass : children as capable and creative communicators

This booklet is the third in the Research in Practice Series, designed to complement Belonging, being & becoming: The Early Years Learning Framework for Australia (DEEWR, 2009). It focuses on Learning Outcome 5 of the Early Years Learning Framework (EYLF): Children are effective communicators (DEEWR, 2009).

Wolf Creek by Sonya Hartnett

Australian screen classics are seminal for a range of reasons: whether it is a particular title’s popularity and impact upon popular culture, its cultural and textual meaning, or what the film tells us about the social, political and cultural climate from which it emerged. Wolf Creek (Greg McLean, 2005) is undoubtedly an Australian screen classic. The film was an impressive low-budget breakout success, which played a big part in the renaissance of contemporary Australian genre cinema by opening doors for genre filmmakers targeting international markets in ways that haven’t been seen in Australia since the 1980s. Wolf Creek has become the quintessential Australian horror movie. It has captured collective national fears and anxieties about the Australian outback – the isolation, the repressive desolation, the idea that the landscape itself is your enemy. It challenges traditional representations of Australian masculinity and the “ocker larrikin” to show a negative image of the rural ocker which dominated Australian screen in the 1970s and, to lesser extent, the 1980s.

Wolf Creek, rurality and the Australian gothic

As with Crocodile Dundee before it, the recent Australian film Wolf Creek promotes a specific and arguably urban-centric understanding of rural Australia. However, whilst the former film is couched in mythologized notions of the rural idyll, Wolf Creek is based firmly around the concept of rural horror. Wolf Creek is both a horror movie and a road movie, one which relies heavily upon landscape in order to tell its story. Here we argue that the film continues a tradition in the New Australian Cinema of depicting the outback and its inhabitants as something the country's mostly coastal population do not understand. Wolf Creek skilfully plays on popular conceptions of inland Australia as empty and harsh. But more than this, the film brings to the fore tensions in the rural idyll associated with the ownership and use of rural space. As an object of urban consumption, rural space may appear passive and familiar, but in the context of rural horror iconic aspects of the Australian landscape become a source of fear – a space of abjection.

Outdoor group portrait of Marga Abel, Franzche Wolf, Miss Mahler, Margot Frank and Else Hirschfeld; Bad Kissingen Portraits Groups Women

Handwritten caption: Wir tragen nur Bemberg-Seidenstruempfe! (We wear only Bemberg silk stockings!)

Reproduction of World War I portrait of Dr. Nathan Wolf of the 2nd Company of the 1st Landsturm Infantry Regiment Portraits Men

Dr. Nathan Wolf's medals: (bottom left) silver Wound Badge; Iron Cross 2nd Class; Iron Cross 1st Class; Zaehringer Loewe (Baden); (on right) Medal of the Turkish Crescent

Reproduction of World War I portrait of Dr. Nathan Wolf of the 2nd Company of the 1st Landsturm Infantry Regiment Portraits Men

Dr. Nathan Wolf's medals: (bottom left) silver Wound Badge; Iron Cross 2nd Class; Iron Cross 1st Class; Zaehringer Loewe (Baden); (on right) Medal of the Turkish Crescent