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Subantarctic Wilderness: Macquarie Island
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Aleks Terauds Fiona Stewart
Subantarctic Wilderness: Macquarie Island by Aleks Terauds at Abbey's Bookshop,

Subantarctic Wilderness: Macquarie Island

Aleks Terauds Fiona Stewart



Mathematics & Sciences;
Zoos & wildlife parks


176 pages

$60.95  $54.85
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Many people form a strong connection with wild and remote places. Macquarie Island is such a place. Halfway between Australia and Antarctica, this tiny speck of land in the middle of the Southern Ocean is one of the most remote landmasses on Earth. An Australian World Heritage Area, the island is geologically unique and the plants that live there are found in very few other parts of the world. It is also home to a fantastic and diverse array of wildlife. During the summer months, penguins, seals, albatrosses and other petrels come ashore in vast numbers.

For the first 100 years following its accidental discovery in 1810, the humans living there heavily exploited the island and its natural wildlife resources. In 1933, the natural value of the island was recognized and it was declared a wildlife sanctuary. Since 1948, it has also been the site of a permanently populated research station. Today, the island is again a subantarctic wildlife haven.

Beautifully illustrated by the photography of Aleks Terauds and the artwork of Fiona Stewart, this book covers all the aspects of Macquarie Island from its rich history to life on the island today, the geology and the plants and, of course, the wildlife that lives there.

By:   Aleks Terauds, Fiona Stewart
Imprint:   Jacana
Country of Publication:   Australia
Dimensions:   Height: 250mm,  Width: 250mm,  Spine: 23mm
Weight:   1.209kg
ISBN:   9781741753028
ISBN 10:   1741753023
Pages:   176
Publication Date:   June 2008
Recommended Age:   From
Audience:   General/trade ,  ELT Advanced
Format:   Hardback
Publisher's Status:   Out of Print

Acknowledgements Introduction The Island History Geology Flora Fauna The Island Today Bibliography Index

Aleks Teruads works as a marine biologist for the Nature Conservation Branch of the Tasmanian Department of Environment. Fiona Stewart is a successful artist and graphic designer with a passion for natural history.

Manon van de Water's fascinating study traces the evolving impact of totalitarianism on two Moscow theatres for youth from the October Revolution of 1917 through three generations of Soviets and into the decade beyond the fall of the USSR. With lively commentary on major writers like Evgenii Shvarts and Viktor Rozov, directors like Maria Knebel and Kama Ginkas, and a host of other pedagogues and artists, she evokes a history that cries out to be remembered by theatre scholars and artists. --Felicia Hardison Londre, Curators' Professor of Theatre, University of Missouri-Kansas City In this well-researched historiographical and theoretical interrogation, Manon van de Water illuminates Soviet Russian theatres for young audiences as sites of complex political, esthetic, and pedagogic negotiations. But through this groundbreaking study, van de Water reveals more than just the ideological resonances of theatre for young people at one time and in one place. Through her meticulous scholarship she also explodes the perception of children's theatre as benign, or without ideology, challenging scholars to examine seriously theatre for young people as manifested in multiple cultural and political contexts throughout the world. --Roger L. Bedard, Evelyn Smith Professor of Theatre, Arizona State University <br> For anyone fascinated by 20th century Russian theatre, in all its contradictions and its struggles to reflect, or sometimes avoid, the social upheavals around it, this book on Russian theatre for children and young people will be required reading. From the 1917 Revolution onwards, Moscow and Leningrad pioneered the creation of theatres for youth that could play a pivotal role in theemergence of a new national identity, acquired real artistic and political status, and in so doing offered models followed by many other countries. But the very state support envied by so many elsewhere was at the same time its Achilles heel. Manon van de Water's meticulously researched study charts the historical developments and the ideological and artistic stresses and strains encountered by these theatres as they struggled for decades to fulfil the state's ideological goals, swerved from agit-prop to classic fairy tales as the climate required, experimented with style as and when they could, and later had to face the challenge of Perestroika and the rapid changes brought about by the collapse of communism and the arrival of 'market forces'. Her focus upon the work of two of the major Moscow theatres for youth, each responding to the changes in decidedly different ways provides a valuable insight not only into the workings of two significant theatres but into aspects of cultural life in Moscow more generally. --Tony Jackson, Senior Lecturer in Drama and Director, Centre for Applied Theatre Research, Manchester University<br>

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