"Description of blue tongue and other arboviruses in Northern Australia"

A serological survey of cattle from throughout Queensland and sheep from cattle/sheep interface areas was conducted to determine the distribution and prevalence of antibodies to Bluetongue virus serotypes. This information allowed preliminary designation of arbovirusfree zones and identification of livestock populations at greatest risk to introduction of exotic Bluetongue viruses. Throughout the state antibodies were detected to only serotypes I and 21. In cattle prevalence decreased with increasing distance from the coast ringing from 73% in the far north to less than I% in the southwest. In sheep, prevalence of bluetongue antibodies in the major cattle/sheep interface areas in the north-west and central Queensland ranged from O% to 5%. A system of strategically placed sentinel herds of 10 young serologically negative cattle was established across northern Australia to monitor the distribution and seasonality of bluetongue viruses. Initially 23 herds were located in Queensland, 4 in Northern Territory and 2 in Western Australia but by the completion of the project the number of herds in Queensland had been reduced to 12. No bluetongue virus activity was detected in Western Australia or Northern Territory herds throughout the project although testing of one herd in Northern Territory with a history of bluetongue activity was not done after June 1991. In Queensland, activity to bluetongue serotypes I and 21 was detected in all years of the project. Transmissions occurred predominantly in the period April to September and were more widespread in wetter years' The pathogenic bluetongue setotypes previously isolated from the Northern Territory have not spread to adjoining States.

The age and growth of the tongue sole Cynoglossus canariensis (Steind 1882)

The geometric mean regression equation for the weight; length relationship of Cynoglossus canariensis was W = 0.0025 L super(3.1770). The Von Bertalanffy constants Woo, Loo, K, and to were 507.5852 g, 47.3683 cm, 0.3333 and 0.1397 for males and 839.0753 g, 54.4720 cm, 0.3062 and 0.1737 for females. Total mortality coefficient Z ranged from 0.6482 and 0.8021

Evidence for the tongue of ionization under northward interplanetary magnetic field conditions

Pryse, Sian; Middleton, H. R.; Kersley, L.; Bust, G. S., 'Evidence for the tongue of ionization under northward interplanetary magnetic field conditions', Journal of Geophysical Research (2005) 110(A7) pp.A07301 RAE2008

'The Adorning of My Native Tongue: Linguistic Metamorphosis in Milton'

This chapter, in a prize-winnng volume, examines Milton's bilingual practices in relation to his translation of Horace, Odes 1, 5 and the 1645 volume as a whole. Drawing upon seventeenth-century pedagogical practice and methodology it examines the potential importance of his schooling and university exercises to the methodology of Paradise Lost.

Tongue-tied?: An Active Analysis of Brian Friel's Translations

This article has arisen from a research-led production of Translations by Brian Friel for Queen’s University’s Tyrone Guthrie Society in February 2010. Drawing partly on a review of the existing critical literature and also from questions left unresolved by a previous experience of directing the play, the production sought to address through ‘active analysis’ (Merlin 2001) a number of research questions relating to the embodied nature of the rehearsal process and the historicity of Friel’s play. The analysis invokes Bergson (1910), Lefebvre (1991) and Worthern (2006) in establishing a performative correlative for insightful but more literary studies by Connolly (1993), Lojek (1994) and McGrath (1989 & 1999). A detailed account of the rehearsal process helps reveal the extent to which the idea of failure of communication is embedded in the text and embodied in performance, while an experiment with the partial use of the Irish language casts further light on Friel’s extraordinary device of rendering two languages through the medium of one. The use of music to counterpoint, rather than underscore the action, together with an achronological sequence of projected historical images inspired by Andrews (1983) provided me as director a means to challenge the audience’s presuppositions about the play. The sense of palimpsest, of the layered histories, that this evoked also served to highlight Friel’s use of the wider stylistic palette of Anglo-Irish drama, revealing Translations as a forerunner for Stewart Parker’s more explicit formal experiments in Northern Star. In rehearsal and performance Friel’s place in the continuum of the Irish theatrical canon became clear, as stylistic allusions to O’Casey, Shaw, Wilde and Beckett were embodied by the actors on the rehearsal room floor.