Home About us Contact
|
Home About us Contact | ||
|
|
||
International Audience (international + audience)
Selected AbstractsWriting for an International AudienceRESTORATION ECOLOGY, Issue 2 2010Karen D. Holl Authors submitting to Restoration Ecology and other international publishing venues need to give careful thought to framing their manuscripts to maximize the relevance of their message to an international audience. I discuss five questions that all authors should reflect upon in framing their papers. Namely, authors should consider which conclusions will be most relevant to an international audience, the scope of systems to which these conclusions apply, and the amount of data supporting these conclusions. Authors should also think about the breadth of the literature cited and the degree of replication of the study. Localized studies are critical to implementing ecological restoration, but all authors, regardless of their intended outlet, need to carefully consider their audience. To publish successfully in an international journal, such as Restoration Ecology, authors need to frame their results within a broad context. [source] The Colonial Strut: Australian Leaders on the World StageAUSTRALIAN JOURNAL OF POLITICS AND HISTORY, Issue 1 2005Graeme Davison In his influential account of modern nationalism, Benedict Anderson emphasises the role of the press in creating a sense of "imagined community". But the nation's identity is also constituted through the performances of representative nationals for an international audience. The visits of Australia's political leaders to London and Washington are carefully stage-crafted events, designed to elicit, or at least create an impression of, a favourable reception by its "great and powerful friends". This essay examines the international debuts of several Australian political leaders from Alfred Deakin (1887) and Robert Menzies (1935) to Bob Hawke and John Howard. It focuses especially on the interplay between the leaders' private and public selves; how they have crafted their public appearances and utterances to capture the attention of the desired international audience, and how their performances have been seen by the audience that, in the last resort, mattered most to them, the Australian one. [source] PARADES, PUBLIC SPACE, AND PROPAGANDA: THE NAZI CULTURE PARADES IN MUNICHGEOGRAFISKA ANNALER SERIES B: HUMAN GEOGRAPHY, Issue 4 2008Joshua Hagen ABSTRACT. As the birthplace of the Nazi Party and the official Capital of the Movement, Munich assumed a high profile within the party's propaganda apparatus. While Berlin became the political and foreign policy centre of Hitler's Reich and Nuremberg the site of massive displays of national power during the annual party rallies, national and local party leaders launched a series of cultural initiatives to showcase Munich as the Capital of German Art. Munich hosted numerous festivals proclaiming a rebirth of German art and culture, as well as the regime's supposedly peaceful intentions for domestic and international audiences. To help achieve these goals, Nazi leaders staged a series of extravagant parades in Munich celebrating German cultural achievements. The parades provided an opportunity for the regime to monopolize Munich's public spaces through performances of its particular vision of German history, culture and national belonging. While such mass public spectacles had obvious propaganda potential, several constraints, most prominently Munich's existing spatial layout, limited the parades' effectiveness. [source] The whaling war: Conflicting cultural perspectives (Respond to this article at http://www.therai.org.uk/at/debate)ANTHROPOLOGY TODAY, Issue 3 2010Adrian Peace The political ritual generated by Japanese whaling in the Southern Ocean annually captures the Australian imagination and at least the attention of international audiences. This article examines how Australia has become the self-appointed guardian of Antarctic whales whilst Japan remains resolutely pro-whaling. [source] | ||||||||||