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From Uluru to the Great Dividing Range, The Geology of Australia explores the timeless forces that have shaped this continent.
This is a comprehensive synthesis of state-of-the-art information on vitally important hydrocarbon habitats for advanced geology students and researchers, exploration geoscientists, and petroleum managers.
Developments in Geotectonics, 10: The Expanding Earth focuses on the principles, methodologies, transformations, and approaches involved in the expanding earth concept. The book first elaborates on the development of the expanding earth concept, necessity for expansion, and the subduction myth. Discussions focus on higher velocity under Benioff zone, seismic attenuation, blue schists and paired metamorphic belts, dispersion of polygons, arctic paradox, and kinematic contrast. The manuscript then ponders on the scale of tectonic phenomena, non-uniformitarianism, tectonic profiles, and paleomagnetism. Concerns cover global paleomagnetism, general summary of the tectonic profile, implosions, fluid pressures, pure shear, crustal extension, simple shear with horizontal axis, geological examples of scale fields, and length-time fields of deformation. The publication explores the cause of expansion, modes of crustal extension, and rotation and asymmetry of the earth, including dynamic asymmetry, precessions, nutations, librations, and wobbles at fixed obliquity, variation of rate of rotation, and categories of submarine ridges. The text is a dependable source of data for researchers wanting to study the concept of expanding earth.
Proceedings of the NATO Advanced Study Institute, Oslo, Norway, July 27-August 5, 1977
Traditional postcolonial scholarship on art and imperialism emphasises tensions between colonising cores and subjugated peripheries. The ties between London and British white settler colonies have been comparatively neglected. Artworks not only reveal the controlling intentions of imperialist artists in their creation but also the uses to which they were put by others in their afterlives. In many cases they were used to fuel contests over cultural identity which expose a mixture of rifts and consensuses within the British ranks which were frequently assumed to be homogeneous. British Art for Australia, 1860–1953: The Acquisition of Artworks from the United Kingdom by Australian National Galleries represents the first systematic and comparative study of collecting British art in Australia between 1860 and 1953 using the archives of the Australian national galleries and other key Australian and UK institutions. Multiple audiences in the disciplines of art history, cultural history, and museology are addressed by analysing how Australians used British art to carve a distinct identity, which artworks were desirable, economically attainable, and why, and how the acquisition of British art fits into a broader cultural context of the British world. It considers the often competing roles of the British Old Masters (e.g. Romney and Constable), Victorian (e.g. Madox Brown and Millais), and modern artists (e.g. Nash and Spencer) alongside political and economic factors, including the developing global art market, imperial commerce, Australian Federation, the First World War, and the coming of age of the Commonwealth.
This book surveys the history of the Earth and the nature of the processes that controlled its history. Integrating information from many fields, the book focuses on fundamental processes, the geological record, historical topics, and specific areas such as the development of modern ocean basins and the nature of cratonic sedimentary cover sequences.