1,003 research outputs found
Rosemary Stanton on ethical eating
No full textThere once was a time when what to have for dinner was a simple choice, decided by cost and availability. But no longer. In a world with increasingly diminishing resources, eating is now complicated by a range of social, environmental and agricultural concerns. Choosing our food is getting confusing, but here, talking at UTS in Sydney, nutritionist Rosemary Stanton gives some practical advice on ethical eating. She is joined by researcher Dana Cordell, who\u27s been studying the environmental implications of the decreasing supply of phosperous in Australia and the world. The event is chaired by Prof. Stuart White from UTS\u27s Institute for Sustainable Futures, and presented as part of the UTSpeaks Series.
Professor Stuart White has been researching sustainability for the last twenty years. In 1998 he was a member of the NSW Task Force on Water Conservation.
Dr Rosemary Stanton is a nutritionist and author of numerous books on the topic of healthy eating. She is also a member of the NSW Health Department\u27s Food Advisory Committee.
Dana Cordell is a senior researcher and doctoral student at the Institute for Sustainable Futures (ISF) at the University of Technology, Sydney. She is also co-founder of the Global Phosphorus Research Initiative.
 
Progress - The changing times.
No full textInterview with Old Scholar and author Rosemary Hemphill (Goldie) about her memories of St Hilda's
Os romances gráficos: inspiração literária, observações sociais e a estética de Posy Simmonds
No full textO Romance Gráfico é um quadrinho adulto contemporâneo, cujas suas primeiras obras importantes surgiram no fim da década de 1970, é também em parte uma continuação e uma consequência de outras tradições anteriores. Além de ser fruto de um fenômeno que ocorreu nos últimos trinta anos de conscientização do quadrinho como forma artística adulta. As obras da autora inglesa Rosemary Elizabeth Simmonds (Posy Simmonds) são representativas de algumas das principais características dos romances gráficos como a experimentação, a alta qualidade estética e a preocupação com temas e questões atuais. Posy recorre a clássicos literários do século XIX e em conformidade com as representações de uma sociedade saturada de imagens desenvolve um trabalho ousado, apropriando-se de elementos da literatura de forma explícita e como parte do jogo intertextual. Ela mescla esses elementos com outros mais próximos da experiência contemporânea e através de uma narrativa na qual desenhos e textos se complementam, a autora os utiliza para pintar um retrato satírico da atual classe média britânica. Em seus trabalhos “Gemma Bovery” e “Tamara Drewe” Posy Simmonds explora essa linguagem com qualidade técnica, experimenta com o formato de publicação em uma página diária de uma história longa e completa. Discute valores contemporâneos tratando as problemáticas das jovens mulheres inglesas através de uma sátira maliciosa e sutil, com uma notável qualidade em seus desenhos, colaborando para que cada vez mais os romances gráficos sejam vistos como uma forma artística nova, a qual mesmo que possua influências e proximidades com outras áreas tornou-se necessária discutir como um material diferenciado: um gênero com suas próprias convençõesGraphic Novel is an adult contemporary comic, whose early important works emerged in the late 1970s, it is, in part, a continuation and a consequence of other earlier traditions, but is also the result of a phenomenon that occurred in the last thirty years into the awareness of adult comics as an art form. The works of the English author Rosemary Elizabeth Simmonds (Posy Simmonds) are representative of some of the main characteristics of graphic novels such as experimentation, high aesthetic quality and occupancy with current themes and issues. Posy uses nineteenth century’s literary classics and in accordance with the representations of a society saturated of images, develops a bold work, appropriating explicitly elements of literature and as part of the intertextual game, blending these elements with other ones, these are closer to the contemporary experience, and through a narrative, in which texts and drawings complement themselves, she uses them to illustrated a satirical portrait of the current British middle class. In his woks “Gemma Bovery” and “Tamara Drewe” Posy Simmonds explores this language with technical quality; experiments with the publishing format in a daily page of a long and completely story; discusses contemporary values covering the problematic of young English women through a canny and subtle satire, with a remarkable quality in her drawings; contributes to increase the graphic novels to be seen as a new art form, which, even having its influences and proximity to other areas, has become necessary to discuss it as a differentiated material: a genre with its own convention
Os romances gráficos: inspiração literária, observações sociais e a estética de Posy Simmonds
No full textO Romance Gráfico é um quadrinho adulto contemporâneo, cujas suas primeiras obras importantes surgiram no fim da década de 1970, é também em parte uma continuação e uma consequência de outras tradições anteriores. Além de ser fruto de um fenômeno que ocorreu nos últimos trinta anos de conscientização do quadrinho como forma artística adulta. As obras da autora inglesa Rosemary Elizabeth Simmonds (Posy Simmonds) são representativas de algumas das principais características dos romances gráficos como a experimentação, a alta qualidade estética e a preocupação com temas e questões atuais. Posy recorre a clássicos literários do século XIX e em conformidade com as representações de uma sociedade saturada de imagens desenvolve um trabalho ousado, apropriando-se de elementos da literatura de forma explícita e como parte do jogo intertextual. Ela mescla esses elementos com outros mais próximos da experiência contemporânea e através de uma narrativa na qual desenhos e textos se complementam, a autora os utiliza para pintar um retrato satírico da atual classe média britânica. Em seus trabalhos “Gemma Bovery” e “Tamara Drewe” Posy Simmonds explora essa linguagem com qualidade técnica, experimenta com o formato de publicação em uma página diária de uma história longa e completa. Discute valores contemporâneos tratando as problemáticas das jovens mulheres inglesas através de uma sátira maliciosa e sutil, com uma notável qualidade em seus desenhos, colaborando para que cada vez mais os romances gráficos sejam vistos como uma forma artística nova, a qual mesmo que possua influências e proximidades com outras áreas tornou-se necessária discutir como um material diferenciado: um gênero com suas próprias convençõesGraphic Novel is an adult contemporary comic, whose early important works emerged in the late 1970s, it is, in part, a continuation and a consequence of other earlier traditions, but is also the result of a phenomenon that occurred in the last thirty years into the awareness of adult comics as an art form. The works of the English author Rosemary Elizabeth Simmonds (Posy Simmonds) are representative of some of the main characteristics of graphic novels such as experimentation, high aesthetic quality and occupancy with current themes and issues. Posy uses nineteenth century’s literary classics and in accordance with the representations of a society saturated of images, develops a bold work, appropriating explicitly elements of literature and as part of the intertextual game, blending these elements with other ones, these are closer to the contemporary experience, and through a narrative, in which texts and drawings complement themselves, she uses them to illustrated a satirical portrait of the current British middle class. In his woks “Gemma Bovery” and “Tamara Drewe” Posy Simmonds explores this language with technical quality; experiments with the publishing format in a daily page of a long and completely story; discusses contemporary values covering the problematic of young English women through a canny and subtle satire, with a remarkable quality in her drawings; contributes to increase the graphic novels to be seen as a new art form, which, even having its influences and proximity to other areas, has become necessary to discuss it as a differentiated material: a genre with its own convention
Reader, text, and culture: how three agents transact while reading children's picturebooks
No full textThis dissertation explores reading, specifically describing the roles of reader, text, and culture in reading events. The study is grounded in the cultural theory of reading, framing reading as a transaction in which reader, text, and culture all act agentively. The study conflates theories of metacognitive reading, narrative conventions, children’s literature, multimodality, and the role of cultural knowledge in reading in order to thoroughly describe each agent’s roles. Data was collected through a think-aloud protocol in which a group of elementary school students individually read and shared their thinking about children’s fictional picturebooks. The readers’ statements while reading were then analyzed quantitatively in terms of the agentive moves made by reader, text, and culture. Data analysis of the agency of readers showed that readers most frequently performed five commonly described reading behaviors: summary, inference, prediction, synthesis, and making connections. The behaviors are further described in terms of their content and patterns of their individual use as well as their use in combination with other behaviors. Data analysis of the role of text demonstrated that that both written text and illustration acted frequently, though written text dominated the transactions. The study presents a catalog of textual conventions that pertain specifically to children’s fictional picturebooks. The study also describes how texts gradually release responsibility to readers. Data analysis of the role of culture demonstrated that genre-related knowledge was the type of extratextual knowledge that most frequently acted in the reading event. Knowledge of specific cultures portrayed in the text had little effect on interpretations. These findings are of potential significance for reading teachers and book publishers. The author suggests questions for future investigation which might clarify or confirm these findings.Ed. D.Includes bibliographical referencesby Rosemary Kin
Front Cover (Summer 2020)
No full textThe cover art is by Rosemary Gallick. This acrylic painting was created as a reflection on losing a dear colleague, friend, and well known national author who was part of the VCCS. When Bob Bausch passed last year, Rosemary wondered where his feisty energy had gone. Spirits Rising is a hopeful and uplifting artwork that transcends the physical world. Gallick believes that the artwork embraces the theme of New Horizons and visually imagines the possibilities
The key phytochemistry of Rosemary (Salvia rosmarinus) contributing to Hair Protection against UV.
No full textExtracts from rosemary (Salvia Rosmarinus) are analysed for their phytochemistry using LC–MS and the phytochemistry identified. The same extracts were tested for their efficacy to act as antioxidants by both hydrogen-atom transfer (ORAC) and single electron transfer (FRAP). A correlation analysis was performed to identify the key phytochemistry responsible for antioxidant efficacy. The top performing extracts were then tested in a peptide model and in hair with the presence of UV to measure ability to protect against UV-induced peptide and protein damage. Polyphenols (e.g. rosmarinic acid, glycosides of selgin) and abietane diterpenes (e.g. carnosic acid) in rosemary were identified as the principal compounds which enables the extracts to protect hair from UV. Objective: The objective of this work was to correlate the phytochemistry of rosemary (Salvia rosmarinus), a botanical with known antioxidant properties, to a UV protection benefit in hair. These data will give insights into mechanisms of UV damage, the ROS formed and their reactivity. Methods: LC–MS was used to compare the compounds in 10 commercial extracts of rosemary. ORAC (oxygen radical antioxidant capacity) and FRAP (ferric reducing antioxidant power) were used to measure the antioxidant capacity of the rosemary extracts. The ORAC assay measures ability of an antioxidant to react with a peroxyl radical via hydrogen atom extraction and FRAP measures electron transfer through reduction of ferric iron (Fe3+) to ferrous iron (Fe2+) by antioxidants present in the samples. Correlation of extract composition with antioxidant measures was performed using principal component analysis. Selected extracts were assessed for their ability to protect hair from UV damage in a model peptide system and on hair. In addition, the same methods were used to test rosmarinic acid and carnosic acid, key phytochemistries in the rosemary extracts. The model system was a peptide and its decomposition on exposure to UV was monitored by LC–MS in the absence and presence of the rosemary extracts. Hair degradation in the presence of UV was measured by exposure of UV in an Atlas weatherometer followed by extraction of degraded protein in water. A fragment of the S100A3 protein was used as a marker of UV damage (m/z = 1278) and quantified via LC–MS. Results: Ten rosemary extracts were assessed for antioxidant performance and correlated with their compositions. The phytochemistry in each extract varied widely with a total of 33 individual compounds identified. The differences were most likely driven by the solvent and extraction method used by the supplier with extracts varying in the proportion of polar or non-polar compounds. This did influence their reactivity in the ORAC and FRAP assays and their efficacy in preventing protein damage. Two of the key compounds identified were rosmarinic acid and carnosic acid, with rosmarinic acid dominating in extracts with mainly polar compounds and carnosic acid dominating in extracts with mainly nonpolar compounds. Extracts with higher rosmarinic acid correlated with ORAC and FRAP scores, with UV protection on hair and in the peptide model system. The extracts chosen for hair experiments showed hair protection. UV protection was also measured for rosmarinic and carnosic acid. Conclusions: Despite the variation in the profile of phytochemistries in the 10 rosemary extracts, likely driven by the chosen extraction method, all rosemary extracts had antioxidant activity measured. This study suggests that the polyphenols (e.g. rosmarinic acid, glycosides of selgin) and abietane diterpenes (e.g. carnosic acid) are the principal compounds which enables the extracts to protect hair from UV
Sharing the Magic: The caregiver's guide to quality dementia care recreation and social programming
No full textSharing the Magic is the long awaited follow up to Discovering Adventure in Special Care. A book for professional caregivers with tips and models of approach to enhance interaction with those living with dementia. Use this terrific resource to help plan programs, develop a "social meals program", enhance socialization and learn how others have created a community within the special care environment. Rosemary Dunne presents another fine work in her easy to read style. Contributor, Barbara Moffatt, lends her experiences, stories and resident reflections to help make this book as insightful and proactive as Discovering Adventure in Special Care.bookPublished
Sense of Origins. A Study of New York's Young Italian Americans
No full textIn Sense of Origins, the author explores the lives of a significant group of self-identified young Italian Americans residing in New York City and its surrounding areas. The book presents and examines the results of a survey she conducted of their values, family relationships, prejudices and stereotypes, affiliations, attitudes and behaviors, and future perspectives of Italian American culture. The core of the study focuses on self-identification with Italian cultural heritage and analyzes it according to five aspects—physical, personality, cultural, psychological, and emotional/affective.
The data provides insights into today’s young Italian Americans and the ways their perception of reality in everyday interactions is affected by their heritage, while shedding light on the value and symbolic references that come with an Italian heritage. Through her rendering of relevant facets that emerge from the study, the author constructs interpretative models useful for outlining the physiognomy and characterization of second, third, fourth, and fifth generations of Italian Americans. In the current climate, questions of ethnicity and migrant identity around the world make Sense of Origins useful not only to the Italian American community but also to the descendants of the innumerable present-day migrants who find themselves living in countries different from those of their ancestors. The book will resonate in future explorations of ethnic identity in the United States
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