Relevant bibliographies by topics / King George Sound

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'King George Sound'

Author: Grafiati
Published: 11 December 2022
Last updated: 27 January 2023

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Journal articles on the topic "King George Sound"

1

Fletcher, WJ, and RJ Tregonning. "Distribution and timing of spawning by the Australian pilchard (Sardinops sagax neopilchardus) off Albany, Western Australia." Marine and Freshwater Research 43, no. 6 (1992): 1437. http://dx.doi.org/10.1071/mf9921437.

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The pattern of abundance of eggs and larvae of the Australian pilchard, Sardinops sagax neopilchardus, collected by plankton tows in the region off Albany, Western Australia, was investigated. In 1989, surface tows were undertaken at five localities extending from the marine embayment of Princess Royal Harbour to the continental shelf just outside King George Sound. In 1990, oblique tows were undertaken at six localities extending from just inside King George Sound to beyond the edge of the continental shelf. Eggs and larvae of pilchards were found in many months, but peaks in egg numbers were found in July and December of both 1989 and 1990. There was, however, only one peak in larva abundance, during December. Most eggs and larvae were found in the region 2-8 km offshore from the entrance to King George Sound. Few were found either well inside King George Sound and Princess Royal Harbour or in outer-shelf localities. Spawning in the Albany region therefore occurred inshore of the main influence of the eastward-flowing tropical waters of the Leeuwin Current. The implications of this spawning activity in relation to the fishery for this species and the potential for stock separation along this coast are discussed.
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2

Groves, Eric W. "Archibald Menzies's visit to King George Sound, Western Australia, September–October 1791." Archives of Natural History 40, no. 1 (April 2013): 139–48. http://dx.doi.org/10.3366/anh.2013.0143.

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This paper gives a daily account of an eighteenth-century naval surgeon/botanist's visit to King George Sound, Western Australia, from 29 September to 11 October 1791, followed by a list of the herbarium specimens extant in various British herbaria.
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Kitchener, A. C. "A western mouse (Pseudomys occidentalis) from King George Sound, Western Australia." Australian Mammalogy 15, no. 1 (1992): 153. http://dx.doi.org/10.1071/am92025.

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ALDERSLADE, P. "A new genus and new species of soft coral (Octocorallia: Alcyonacea: Alcyoniidae) from the south western region of Australia." Zootaxa 175, no. 1 (April 3, 2003): 1. http://dx.doi.org/10.11646/zootaxa.175.1.1.

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Notodysiferus dhondtae new genus & new species (Octocorallia: Alcyoniidae) is described from King George Sound, Albany, Western Australia. The shallow water, dimorphic, zooxanthellate genus has a massive, encrusting growth form similar to some species of warm water alcyoniid genera such as Sinularia and Lobophytum. The new taxon has both autozooids and siphonozooids in most of the area of the lobes of the polypary, but siphonozooids alone are distributed over the basal regions of the lobes. The sclerites of the new taxon are 8-radiate capstans and their derivatives. Remarks are presented on the alcyonacean fauna of the region, and the new genus is compared to similar taxa.
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Phillips, Gyllie. "Cannibals and Capital: George King'sSweeney Todd(1936) and Representations of Class, Empire and Wealth." Journal of British Cinema and Television 15, no. 4 (October 2018): 571–88. http://dx.doi.org/10.3366/jbctv.2018.0443.

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The story of Sweeney Todd has its origins in the era of Victorian stage melodrama, a form with well-documented connections to critiques of Victorian class structures and economic hardship. As well, the musical versions of the story by Stephen Sondheim and Hugh Wheeler (1979), including the 2007 film by Tim Burton, have been identified with anti-capitalist sentiment. In all the discussions of Sweeney Todd and class, however, surprisingly little scholarly attention is paid to the first sound film version of the story, which appeared in Britain at the height of the economic crisis of the 1930s: Sweeney Todd: The Demon Barber of Fleet Street (1936), directed by George King and starring Tod Slaughter. The King-Slaughter collaborations converting Victorian stage melodramas to screen were part of the body of 1930s films identified as ‘quota quickies’, which have been characterised as cheap and badly made. Scholars such as Rachel Low and, more recently, David Pirie dismissed the quota quickies as films unworthy of close attention, but this article joins the revisionist trend that takes issue with these judgements both of 1930s quota quickies and the films of King and Slaughter. King's Sweeney Todd responds to the bleak economic experience and anxieties of its audiences through its narrative and generic changes to its Victorian precursors, as well as through its limited but creative uses of film form. Specifically, King's film challenges the idea of the naturalised authority of the wealthy, questions the origins of wealth and the function of labour, and transforms the abject body of the horror genre into a metaphor for the circulation of capital.
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Mabberley, David J., Erika Pignatti-Wikus, and Christa Riedl-Dorn. "Ferdinand Bauer’s field drawings of endemic Western Australian plants made at King George Sound and Lucky Bay, December 1801 – January 1802. II." Rendiconti Lincei 11, no. 4 (December 2000): 201–44. http://dx.doi.org/10.1007/bf02904666.

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Mabberley, David J., Erika Pignatti-Wikus, and Christa Riedl-Dorn. "Ferdinand Bauer’s field drawings of endemic Western Australian plants made at King George Sound and Lucky Bay, December 1801 – January 1802. I." Rendiconti Lincei 11, no. 2 (June 2000): 69–109. http://dx.doi.org/10.1007/bf02904376.

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8

Brackett, David. "James Brown's ‘Superbad’ and the double-voiced utterance." Popular Music 11, no. 3 (October 1992): 309–24. http://dx.doi.org/10.1017/s026114300000516x.

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JB was proof that black people were different. Rhythmically and tonally blacks had to be from somewhere else. Proof that Africa was really over there for those of us who had never seen it – it was in that voice. (Thulani Davis, quoted Guralnick 1986, pp. 242–3)If there is any black man who symbolizes the vast differences between black and white cultural and aesthetic values, Soul Brother No. 1 (along with Ray Charles) is that man. (David Levering Lewis, quoted Guralnick 1986, p. 240)Brown has never been a critics' favorite principally because of the apparent monotony of so many of his post-1965 recordings. But attacking him for being repetitive is like attacking Africans for being overly fond of drumming. Where the European listener may hear monotonous beating, the African distinguishes subtle polyrhythmic interplay, tonal distinctions among the various drums, the virtuosity of the master drummer, and so on. Similarly, Brown sounds to some European ears like so much harsh shrieking. (Robert Palmer 1980, p. 141)During the 1960s James Brown single handedly demonstrated the possibilities for artistic and economic freedom that black music could provide if one constantly struggled against its limitations … He was driven by an enormous ambition and unrelenting ego, making him a living symbol of black self-determination … Motown may have been the sound of young America, but Brown was clearly the king of black America. (Nelson George 1988, pp. 98–9)
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Dortch, Joe, Charles Dortch, and Robert Reynolds. "Test Excavation At The Oyster Harbour Stone Fish Traps, King George Sound, Western Australia: An Investigation Aimed at Determining the Construction Method and Maximum Age of the Structures." Australian Archaeology 62, no. 1 (June 2006): 38–43. http://dx.doi.org/10.1080/03122417.2006.11681829.

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OBERPRIELER, ROLF G., RICHARD T. THOMPSON, and MAGNUS PETERSON. "Darwin’s forgotten weevil." Zootaxa 2675, no. 1 (November 12, 2010): 33. http://dx.doi.org/10.11646/zootaxa.2675.1.3.

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G. R. Waterhouse (1839) described the first species of weevil from the specimens collected by Charles Darwin in Australia in 1836. Named Belus testaceus, it was subsequently forgotten in all literature on Australian Belidae. Study of the type, as preserved in the Natural History Museum, London, revealed its name to be a senior synonym of Belus linearis Pascoe, 1870 (syn. n.). Known from only another six specimens taken about a century ago at the same locality, King George Sound (present-day Albany) in Western Australia, plus another four of uncertain origin, this species, now in the genus Stenobelus Zimmerman, appears to be restricted to the southern tip of Western Australia but of unknown current distribution, if it is indeed still extant. The only other species of the genus, S. tibialis (Blackburn), has a wider but highly fragmented distribution across Australia, apparently being common only in the acid swamplands (wallum) of south-eastern Queensland. The larval hostplants of both species are unknown. Diagnoses are provided for the genus Stenobelus as well as for its two species, and the holotypes of all applicable names are illustrated, together with the diagnostic features of the genus. Six species recently transferred to Stenobelus from Rhinotia by Legalov (2009) are again excluded from this genus, and the name of the subgenus Germaribelus Legalov, 2009 is placed in synonymy with Rhinotia Kirby, 1819 (syn. n.).
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Dissertations / Theses on the topic "King George Sound"

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Eyres, John A. "A comparison of seagrass communities at varying proximity to a low-density mussel-line aquaculture in King George Sound, Western Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/675.

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Increasingly mussel-line aquaculture is recognised as a potential threat to seagrass. Sites suitable for mussel-line aquaculture are often in sheltered waters containing seagrass. Despite this; few studies have examined the risk of mussel-line aquaculture to seagrass ecosystems. The objective of this study is to determine how low-density, mussel-line aquaculture might influence the underlying seagrass ecosystem.
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Shellam, Tiffany Sophie Bryden. "Shaking hands on the fringe : negotiating the Aboriginal world at King George's Sound." Phd thesis, 2007. http://hdl.handle.net/1885/110025.

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In 1826 a British military garrison was set up on the edges of an Aboriginal world at King George's Sound on the south west corner of Western Australia. This history narrates four episodes which centre on the interactions that occurred between the British newcomers and the Aboriginal people who lived there. The garrison was designed to be a holding station, to deter the French from making a territorial claim on a large and hard to defend continent and thus the British presence at King George's Sound was not an overtly colonising one. This history studies a series of events that took place during the first few years of the British settlement at King George's Sound, from when it was established as a military garrison in 1826 until after its conversion to a free settlement within the colony of Western Australia. Four narrative episodes focus on the relationships between the Aborigines who lived beyond the shores of King George's Sound and the British newcomers who stepped ashore and stayed. Western Australian historiography has rendered this past as a 'friendly frontier' - a reflection of the few violent incidents between the Aboriginal people who lived in the area and the newcomers who set up their camps. This history attempts to leave behind such tropes as 'friendly' and 'peaceful' and look closely at the everyday experiences of individual people as well as the complexities in the developing relationships between particular British newcomers and Aboriginal individuals.
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Books on the topic "King George Sound"

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Albany: Port with a past and future : a history of the Port of Albany, King George Sound, Western Australia--. Albany, W.A: Albany Port Authority, 1997.

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2

Shellam, Tiffany. Shaking hands on the fringe: Negotiating the Aboriginal world at King George's Sound. Crawley, W.A: UWA Press, 2009.

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Shaking hands on the fringe: Negotiating the Aboriginal world at King George's Sound. Crawley, W.A: UWA Press, 2009.

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4

State Library of South Australia. Friends., ed. Journals of expeditions of discovery into Central Australia, and overland from Adelaide to King George's Sound, in the years 1840-1: Sent by the colonists of South Australia, with the sanction and support of the government : including an account of the manners and customs of the Aborigines and the state of their relations with Europeans. Adelaide: Friends of the State Library of South Australia, 1997.

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5

Dennis, Captain Thomas. TO KING GEORGE THE THIRD SOUND FOR WHALES. Hesperian Press, 2006.

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6

Johnson, Les. Albany: Port with a past and future : A history of the Port of Albany, King George Sound, Western Australia--. Albany Port Authority, 1997.

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Orcas, eagles & kings. Primavera Press, 1992.

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8

1800?, Dixon George d., Portlock Nathaniel 1748?-1817, and Beresford William fl 1788, eds. Voyage of Captains Portlock and Dixon to King George's Sound and round the world. Philadephia: Printed and sold by Joseph and James Crukshank, 1989.

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9

Eyre, Edward John. Journals of Expeditions of Discovery into Central Australia, and Overland from Adelaide to King George's Sound, in the Years 1840-1. University of Cambridge ESOL Examinations, 2011.

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Eyre, Edward John. Journals of Expeditions of Discovery into Central Australia, and Overland from Adelaide to King George's Sound, in the Years 1840-1. Cambridge University Press, 2011.

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Book chapters on the topic "King George Sound"

1

Milward, John. "Turn! Turn! Turn!" In Americanaland, 73–88. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043918.003.0006.

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This chapter begins by addressing the Beatles, to whom America meant music and cowboys. Ringo Starr loved Gene Autry, while George Harrison discovered the music of Jimmie Rodgers. But it was Buddy Holly (along with Gerry Goffin and Carole King) who inspired John Lennon and Paul McCartney to start writing their own songs. In the beginning, Lennon, McCartney, and Harrison were smitten by “skiffle,” a synthesis of folk and blues that developed in the UK at virtually the same time Elvis Presley was helping create rock and roll. The Beatles' lengthy stays in Hamburg amounted to rock-and-roll boot camp, with the group playing every night for up to eight hours. The chapter then looks at Jim McGuinn and his band, the Byrds. Desperate for a hit, McGuinn thought of “Turn! Turn! Turn!,” a Pete Seeger song that he had recorded with both the Limelighters and Judy Collins. In this season of folk rock and the British Invasion, it was only natural for McGuinn to open his band's second (and last) number-1 record with the reverberating sound of the twelve-string Rickenbacker that he had bought after falling for the Beatles.
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Hoffmann, Roald. "The Metaphor, Unchained." In Roald Hoffmann on the Philosophy, Art, and Science of Chemistry. Oxford University Press, 2012. http://dx.doi.org/10.1093/oso/9780199755905.003.0023.

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Scientists write, first of all for other scientists. It’s not publish or perish, but rather that an open system of communication, a commitment (shading to an addiction) to telling others what you have done, is essential to the functioning of science. The primary medium of communication in the profession is the peer-reviewed article. This, our stock in trade, has a ritual format with strong historical roots. Once more diverse, the language of published articles is now 85 percent English, or an approximation thereto. Declining mastery of language aside, it’s probably okay for most papers to be written in a bare style, for the vast majority of more than 500,000 articles published in chemistry and related fields last year is highly specialized (and routine) science. I do wonder about the collective effect of so much stylistically undistinguished writing. Is more harm done by selling lesser science through good style (I’m not talking about hype), or by poor writing pulling down sound science? A second intersection of science and writing reaches out to nonspecialists. Here we have science journalism and the popularization of science. The best examples shape a genre onto itself. Some are authored by writers, by journalists or historians, and are just superb, as in K. C. Cole’s tours through higher dimensions. But let me focus on practicing scientists who write in this mode. I would claim that when scientists themselves write for a general audience, their research is likely to improve. Why? Because writing sets free the oft-suppressed metaphor. Paragons among the kind of general-audience books I have in mind are those of Oliver Sacks, Carl Sagan, George Klein, and Jacques Monod, all of whom are (or were) both distinguished scientists and gift ed authors. In their volumes, stories of science are told in a strong narrative vein. In some, a philosophical framework is explicit; in others it remains for us to find. Such books have recently won Pulitzer Prizes, National Book Awards and their worldwide equivalents. This recognition is something new in letters, and well-deserved. Another facet of the genre is made up of articles written by scientists who lay out their research in popular terms.
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