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The Colonial Beer Drinker•
Full text linkOne trouble when ordering a beer in Australia is shared with other countries - you have to remember what amount you want, where you are at the time, and the local popular name or one according to the capacity of the glass. Even a 'glass' can be a specific measure - 200 ml. in Western Australia and Victoria but 225 in Queensland. The now uncommon pint is 575 ml. in New South Wales but 425 in South Australia. Some of the many names for large beers such as cruiser, dreadnought, silo, and Trickett (after a champion sculler) enjoyed limited or local use, while others established a place in history: long sleever was popular for many decades after the 1870s, less so deep sinker and Bishop Barker (he was 6'5" tall). During World War II an approximate pint was a cut down beer bottle which gloried in the name of Lady Blarney, honouring the wife of the C.I.C. Like the English 'dead men', empty bottles have been dead marines for over a century, perhaps via 'dead mariner' or, as Grose suggested, an expression of sailors' contempt for the seamanship of marines. Marine, hence mariner, marine dealing, and marining have been used in a formal way in connection with the bottle-o trade. The schooner of 425 ml. is now the main large drink in New South Wales and the Northern Territory, but it only holds 285 ml. in South Australia. There has also been rare use of Yankee schooner (suggesting its source), Botany schooner, a vague association with the Sydney suburb, and black schooner, the drink permitted in the coalfields before one cleans up after a shift
Make Me A Pedant Lord- But Not Yet
Full text link'POLTROON. An abject and contemptible coward. From Old Italian poltrone, lazy good-for-nothing, apparently from poltrire, to lie indolently in bed.' In a word, ME. There I was helpless in my hospital bed, an eminent anaesthetist (or anaesthesiologist, if the Americans take over our language as they have our hotel rooms) about to insert a needle for an antibiotic and saline drip into my right arm my writing arm! - and he asks me what I do and I admit to being a member of the University of Sydney's English Department (happily, I don't have time to confess to being a newspaper columnist) and he turns out also to be an aesthetician, when it comes to matters linguistic. One of his sons, he informs me, sounding a note of betrayal of which Oedipus' dad would not have been unproud (pardon me, George Orwell!), recently used 'criteria' as a singular noun! And did I know that journalists had to be given lessons in how to write? The drip inserted, he lent (loaned?) me a copy of Wayne speak to cheer me up
The Effectiveness of Evidence-Based Teaching Practices in Biomedical Sciences on Students’ Learning Experience: A Systematic Literature Review
Full text linkThe traditional didactic approach to teaching in biomedical sciences falls short of providing students with the 21st century competencies necessary to meet the socioeconomic demands placed upon them. Tertiary biomedical science educators have sought empirical evidence to identify the best practices to meet these demands, each of which have an element of actively involving students in their learning, as opposed to passive and didactic instructional approaches. This review synthesises the literature on evidence-based teaching practices (EBTPs) implemented in biomedical science disciplines and investigates the impact of EBTPs on students’ learning experiences through a systematic review. Seventy-eight studies were analysed, providing a comprehensive review of teaching practices that supported active learning in biomedical science disciplines. The findings revealed that EBTPs had significant impact on students’ academic performance and learning experiences to enhance higher-order thinking skills and self-directed learning, despite the variation in educational setting. A range of instructional strategies and technologies that supported active learning experiences were identified in this review, and the findings provide an evidence base to inform pedagogical decisions regarding the implementation of EBTPs and may serve as an impetus for instructors to implement active learning strategies based on this empirical evidence
Voices from the Frontlines: A Comparative Study of North-eastern Insurgency in India and Bangladesh’s War of Independence (1971)
Full text linkThe North-eastern insurgency in India and the Bangladesh war of Independence (1971), which resulted in the separation of East Pakistan from West Pakistan, are considered two of the most devastating occurrences in South Asia, causing countless fatalities and incalculable losses in property. Since India’s independence in 1947, the North-east region has been plagued by a proliferation of separatist conflicts and violent uprisings. Although the motives and objectives behind these movements have evolved over time, the pursuit of a unified homeland has consistently remained a ubiquitous motif unifying them. Similarly, a series of egregious and prejudicial practices inflicted by West Pakistan on East Pakistan catalysed the latter’s aspiration for autonomy, culminating in a tumultuous struggle against its authoritarian rule. However, what remains unaddressed in these overarching narratives are the perspectives of those who lived or who live through the conflict: families, rebels, and marginalized groups such as women and children. A deeper understanding of war and insurgency can only be achieved by examining these voices, which are often ignored by the mainstream media. Therefore, this paper aims to critically analyze two literary works that provide perspectives from all crucial stakeholder groups, exploring themes of conflict, autonomy, accountability, and sacrifice. By examining familial bonds, affection, obligation, cultural hegemony, ethnicity, and the integrity of both the rebels and the oppressors, this study seeks to conduct a comparative analysis of these texts, building upon the premise that they offer unique insights into the complex nature of these events. 
Staging a Nation: A Review of Two New Works on Australian Playwriting: Julian Meyrick. Australia in 50 Plays, Currency Press, Sydney, 2022. 352 pages. Hardback 59.19, hardback 53.59. ISBN 9781032008615
No full textRichard Fotheringham reviews Julian Meyrick's Australia in 50 Plays (2022) and Chris Hay and Stephen Carleton's Contemporary Australian Playwriting: Re-visioning the Nation on the Mainstage (2023)
Writing Strange Letters in the Garden, with Love and Fury
Full text linkFrench feminist philosopher Hélène Cixous says, ‘the book is a letter on the run’ ( White Ink 177) and I too have taken the letters of two Australian women gardeners on the run to create my thesis. I grasped the letters between wildflower illustrator Kathleen McArthur and poet Judith Wright and ran with them. I held them close as I grappled to understand how contemporary Australian women’s digital garden stories might work to create conditions of community and worlds in common. In corresponding about their gardens, the poet and the artist developed a deep friendship that bloomed into a broader conservation ethic and action. Their letters and deep female friendship evolved into a question about how to live in harmony with the more-than human world. They would go on to play vital roles in the protection of places I hold dear: The Great Barrier Reef, K’gari (Fraser Island) and the Cooloola National Park. As I held these letters close and analysed my own thesis findings the world around me suffered increasing, human-caused, environmental catastrophe and I felt myself writing with both love and fury, much like Wright did. I began writing strange letters to Kathleen McArthur, alongside letters to my supervisor Professor Liz Mackinlay. Through these letters I searched for what gardens said and did and felt when they were turned into stories. What happens to garden boundaries in this time of environmental love and loss, and digital connection
A Love Letter to Decorator Crabs
Full text linkThe ocean is a planetary force consisting of both surface and depth. The imaginary of the ocean is an interconnecting and interconnected force. The ocean, with its hypnotic lack of form, reminds us that who we are does not end at the skin. We bleed into our environments, and our environments bleed into us. The sea is both conceptually and materially entangled with us: we are on a transcorporeal continuum with the ocean. In this love letter, we turn toward the ocean as an ontological space of transformation and extend a dedication to our strange kin: decorator crabs. Decorator crabs are slow nocturnal scavengers. In an attempt to look “less-crab” or “more-than-crab”, they select materials, debris, and other living beings from their environment to adorn their shells, placing them over a velcro-like surface on their carapace: these crustaceans entangle themselves with their environment. In our viewing and interactions with them, we as human researchers similarly entangled ourselves amongst the crabs, all within the potent transformative fluid of the aquarium tank. We present our epistolary dedication to these critters as we conceptualise the aquarium as an alchemist’s pot of entanglements - a metonym for the ocean - to learn and become with the resident crustaceans. The letter is presented in video form here – A love letter to decorator crabs.
Trigger warning: Please be advised that this piece contains descriptions of humans confining and eating other animals
