Travel and adventure in South-East Africa; being the narrative of the last eleven years spent by the author on the Zambesi and its tributaries; with an account of the colonisation of Mashunaland and the progress of the gold industry in that country,

"Some chapters of this book have already appeared in print in the shape of articles to the Field newspaper." Pref., p. ix.

Our butterflies and moths; a true-to-life adventure into the wonderland of the butterfly world and its related insect kingdom as seen through fact and fancy, fable and folklore

Mode of access: Internet.

Camp-fire and cotton-field: southern adventure in time of war. Life with the Union armies, and residence on a Louisiana plantation.

Mode of access: Internet.

Memories : a record of personal experience and adventure during four years of war /

Reprint. Originally published: Philadelphia : Lippincott, 1888.

Life, here and there, or, Sketches of society and adventure at far-apart times and places /

C.W. Benedict, stereotyper, 201 William St., N.Y.

The great lone land : a narrative of travel and adventure in the North-west of America /

Mode of access: Internet.

Nomads of the North; a story of romance and adventure under the open stars,

Mode of access: Internet.

Dancing with nature : rhythm and harmony in extreme sport participation

Research on extreme sports has downplayed the importance of the athletes' connection to the natural world. This neglect stems, in part, from the assumption that these activities derive their meaning primarily from risk. The authors' long-term research reveals that the interplay between adventure athletes and the natural world is, in fact, crucial for many participants. This study used hermeneutic and phenomenological analysis of first-hand accounts of these sports and interviews with 15 veteran participants. These included BASE jumpers, big-wave surfers, extreme skiers, waterfall kayakers, extreme mountaineers and solo rope-free climbers. Participants spoke extensively about developing a deep relationship with the natural world akin to an intimate 'dance' between actively engaged partners. Our experience-based analysis has found that extreme sports aficionados do not simply view the natural world as a commodity, a stage for risk taking, or vehicle for self-gratification. On the contrary, for veteran adventure athletes the natural world acts as a facilitator to a deeper, more positive understanding of self and its place in the environment. For some, nature was described as omnipresent and ubiquitous, and a source of innate power and personal meaning. The authors explore how these findings may augment the delivery of more 'ecocentric' programmes in the outdoor adventure field.

Young children learning for the environment: Researching a forest adventure

Field experiences for young children are an ideal medium for environmental education/education for sustainability because of opportunities for direct experience in nature, integrated learning, and high community involvement. This research documented the development - in 4-5 year old Prep children - of knowledge, attitudes and actions/advocacy in support of an endangered native Australian animal, the Greater Bilby. Data indicated that children gained new knowledge, changed attitudes and built a repertoire of action/ advocacy strategies in native animal conservation as a result of participating in a forest field adventure. The curriculum and pedagogical features that supported these young children’s learning include: active engagement in a natural environment, learning through curriculum integration at home and at school, anthropomorphic representations of natural elements, making connections with cultural practices, and intergenerational learning. The paper also highlights research strategies that can be usefully and ethically applied when conducting studies involving young children.

Towards an understanding of Australian genre cinema and entertainment : beyond the limitations of ‘Ozploitation’ discourse

While Australian cinema has produced popular movie genres since the 1970s, including action/adventure, road movies, crime, and horror movies, genre cinema has occupied a precarious position within a subsidised national cinema and has been largely written out of film history. In recent years the documentary Not Quite Hollywood (2008) has brought Australia’s genre movie heritage from the 1970s and 1980s back to the attention of cinephiles, critics and cult audiences worldwide. Since its release, the term ‘Ozploitation’ has become synonymous with Australian genre movies. In the absence of discussion about genre cinema within film studies, Ozploitation (and ‘paracinema’ as a theoretical lens) has emerged as a critical framework to fill this void as a de facto approach to genre and a conceptual framework for understanding Australian genres movies. However, although the Ozploitation brand has been extremely successful in raising the awareness of local genre flicks, Ozploitation discourse poses problems for film studies, and its utility is limited for the study of Australian genre movies. This paper argues that Ozploitation limits analysis of genre movies to the narrow confines of exploitation or trash cinema and obscures more important discussion of how Australian cinema engages with popular movies genres, the idea of Australian filmmaking as entertainment, and the dynamics of commercial filmmaking practises more generally.

Thelma and Disease : Susan Gilman's Undress Me in the Temple of Heaven [A Review]

In the nineteenth century, when female travel narratives of miss(adventure) were still read as excursions rather than expeditions, it was common for women travellers to preface their writing with an apology or admission of guilt—a type of disclaimer that excused the author for engaging in such inappropriate activity and bothering the reader with their trivial endeavours. Susan Gilman’s Undress Me in the Temple of Heaven offers no such thing. Instead Gilman begins her memoir with a confession about its lack of lies, half-truth and spin. ‘This is a true story,’ she writes, ‘recounted as accurate as possible and corroborated by notes I took at the time and by others who were present.’