Show all 8 episodes. You Pop Twice! Hide Show Director 1 credit. Hide Show Writer 1 credit. Hide Show Camera and Electrical Department 1 credit. Hide Show Self 18 credits.
Fluffer TV Series post-production Self. Hide Show Archive footage 37 credits. Official Sites: Cameo Hubzter See more ». Height: 5' 5" 1. Machor and Philip Goldstein, eds. Thus he suggested that the consideration of reception should take into account not only how the ancient texts have been transformed, but also how our understanding of these receptions guide our understanding of the ancient world.
There have been studies of the reception of the ancient world in particular cultures or eras, such as the Arab world and the Victorian period. Mee and Helene P. Classical Presences. McGuire, eds.
Classical Receptions. Chichester and Malden, Mass. The vast scope of the subject, covering a wide geographical as well as historical area, and its, till now, unexplored nature, makes it especially suitable for a companion volume such as this which places the relevant questions on the agenda of classical reception scholarship and opens the field for further in depth research.
Several such questions are raised by the chapters in this book. Firstly, the reception of the classical world in juvenile literature reflects wider social concerns. In the Victorian and Edwardian ages, this is connected to ideas about both the nature of the ancient world and of childhood itself.
The Neoclassical movement had made the classical world — or more accurately a certain perception of the classical world — an ideal. In the words of Simon Goldhill, Victorian culture was obsessed with the classical past, as nineteenth century self-consciousness about its own moment in history combined with an idealism focussed on the glories of Greece and the splendour of Rome to make classical antiquity a deeply privileged and deeply contested arena for cultural self- expression.
Along with this idealization of Greece and Rome, this period also saw the rise of the glorification of the child as the pure model of innocence, probably as a result of the development of Romanticism. The two idealizations intertwined in the Victorian and Edwardian minds, permeating their concepts of childhood, and reflected in the literature that then began to be produced in increasing numbers for children. A growing social awareness and the development of social reform were also hallmarks of the later Victorian and Edwardian period, and this too is echoed in the literature of the time.
Nesbit, looking at how Nesbit, in her timetravelling stories, uses the ancient world as a means to critique her own, especially with regard to politics, social welfare and imperialism. This survey demonstrates how the historical background influences the depiction of the mythical worlds created by writers for youngsters.
The first paper of the second section, which deals with modern adaptations of classical mythological subjects and themes, continues the ideological approach found in the first section. The paper goes on to examine evidence about how younger players build an understanding of the mythological material through their exposure via games. Receptions of a specific mythological figure, namely the centaur, are the focus of the third chapter in this section. Lewis, J.
This paper demonstrates how the different aspects of the centaur tradition are adapted, emphasised and refigured in the hands of contemporary writers, and, by consideration of 12 Children, Greece and Rome modern animal theory, how this figure is connected with human perceptions of animals. The final chapter in this part focuses on one modern, very influential author. Following publication order of the volumes, Slater demonstrates how echoes and memories of the ancient world colour and fill the works, but with playful variations on their original sources.
The third section of the book focuses on such reworkings. These different versions vary widely in their portrayal of the Homeric characters, ranging from traditional and sympathetic presentations to a variety of post—modern interpretations, in which he is marginalised or even subjected to hostile or mocking critique. All of these adaptations of the Odysseus story for children reinterpret the character of Odysseus and the Homeric value system, as well as demonstrating a strong metafictional element, as they show clear consciousness of their own position as receptions of the ancient tale.
Arachne, Midas, Baucis and Philemon, Daedalus and Icarus, Echo and Narcissus , Ovid is often barely acknowledged as a source for the stories that are instead portrayed as unmediated expressions of the Greek spirit. Roberts explores the negative attitude towards Ovid and, focussing on the stories of Narcissus and of Arachne, shows how the treatment of Ovid in anthologies for children must also be read as a function of varying conceptions of childhood at different periods.
He demonstrates how the series uses ancient Rome as a vehicle for investigating issues of imperialism, occupation, oppression and invasion. Clearly no study of this kind can be exhaustive; nor indeed is it intended to be. Covering 14 Children, Greece and Rome different genres historical fiction, fantasy, picture books, comics, computer games , and examining works spanning years, its scope is wide, and many of the papers will be the starting points for further research in this area.
It is to be hoped that they stimulate more explorations into the rewarding and important field of juvenile fiction, in which the ancient Greek and Roman worlds have spread, and continue to spread, such a wide influence. In Wonderland, Latin grammar books may not provide much of a useful guide for starting conversations.
In falling down the rabbit hole to an underground otherworld, Alice travels an archetypal path, following in the footsteps of other travelers in the classical underworld such as Aeneas, Odysseus, Orpheus and Persephone. Alice, a girl, looks into the Latin books belonging to her brother, a boy, curious about a site of male learning and learnedness. Alice, as the youngest child in this family would be familiar with the discourse of learning, Latinity and Hellenism. Latin as a site of male knowledge and education and profession, of cultural capital that the fictional Alice may be excluded from as a girl, fails to work on the Wonderland Mouse, and Alice has to use her own intelligence and logic to proceed further.
All these nuances are there for readers to recognize, consciously or unconsciously, or to encounter for the first time. Latinity is overtly referred to and rejected but still present in the text: an overt example of classicism in a minute way.
The book does not overtly refer to classical journeys, or make reference to Odysseus or Aeneas; it takes some work and knowledge to find classical parallels. But it is written in a structure that readers familiar with conventions of epic would recognize, and would therefore enjoy the parallels and variations on a classical theme.
Alice also has the heroic status of an adventurer in a strange land, retaining her dignity and sanity in the nonsense world underground. Underscoring that heroic representation of Alice and reinforcing that she is a logical and intelligent child, is a third classical precedent, namely the series of Socratic dialogues she engages in with the animals of Wonderland, dialogues about the nature of the world and experience.
Classical reception studies has been gaining momentum in recent years. It overlaps with the study of the Classical Tradition, but instead of focusing on the transmission of particular classical texts, it is interested in the interaction between the classics and the texts, or people, receiving and transmitting them, and the multiple valences of meaning in receptions of classical material. It aims to understand the impact and applications of classical materials, and the ways in which they have been read or understood over the centuries, as well as what those ways of reading, interpreting, or transmission say about the period, text, or writer under consideration.
Reception studies of this nature can be profoundly or lightly classical, can find classical ideas to be strong organizing principles behind particular works, and also to be part of the fabric of cultural engagement in a particular period, or genre, or area; a reception approach thus adds insight to the texts under consideration.
Last in her list is the conflation of an idealized version of childhood with the ideas, both of the shepherd deity Pan, and the puer aeternus, or eternal youth. As well, there are the social aspects of classicism, in which references to classical figures or words from classical languages, are part of a set of assumptions about shared knowledge, or educational practices, or class or cultural capital, that show the pervasiveness of classical knowledge as a shared point of reference — even for writers or readers whose actual classical education may be only minimal.
In this essay, then, I examine some case studies which reveal how classics and character affect one another. Here, the learning of classical subjects is strongly connected to the character development of child protagonists, in terms of their morals, grit, and polish. In other words, they do not merely need to acquire cultural capital or possessing abilities, but also to demonstrate honesty, diligence, and endurance. In taking an honest approach to his Latin or Greek, he strongly contrasts with Tom and his friend Harry East, who have given into peer pressure, and are in the habit of cribbing and cheating.
Though Hughes shows sympathy with boys forced to learn a subject they might be unsuited for, the learning of Latin is a moral as well as an intellectual exercise. Good scholars tend to be good boys, and will become good men. In stressing the difficulty of Latin, and its value in providing a moral testing ground, he emphasizes the rigour and strength required for the scholarly approach, situating intellectual rigour as equivalent to the growing cult of games and muscularity.
More generally, in employing classical language, motifs and an atmosphere of learning and learnedness, Hughes suggests that the moral development of schoolboys should be seen as miniature epics. However, one can see a shared emphasis on the underlying idea of epic and heroism. While Alice goes through a literal katabasis in her descent down the rabbit hole to Wonderland, these novels, using the language of psychological realism, engage in a metaphorical katabasis of the soul, by forcing creative girls such as Jo March and Katy Carr to experience pain, disability and grief, experiences that forge and temper their characters.
Jo and 4 Hughes, Thomas. As she does this, she channels her grief and love into writing for her family rather than for herself. Her writing brings financial rewards and critical praise as well as the love and delight of her family. Amy and her eventual husband Laurie both reach an understanding that their artistic gifts are minor. Both channel their talents into patronage of other creators. As a genius loci the talented girl, restricted to home, generates her best creations from that home, and creates them in order to celebrate the home.
Indeed, she transforms the home, anointing it with literary benisons. Rather than being merely restrictive, these novels are practical and heartfelt narratives of the creative process, intertwined with the coming of age stories of their teenage protagonists.
Classics and character thus meet and mingle in the underlying narrative structures of these novels of development. It is noticeable, however, that classical myths and learning are not explicitly expressed, and that we find a buried and implicit classicism in operation here. The novels so far discussed depict a model of childhood, where childhood is a progression towards adulthood, and in which the acquisition of abilities and knowledge and the rejection of negative traits are profoundly influenced by available social role models.
That is, the invocation of Pan and the puer aeternus, a model that begins to appear in the s and that takes hold of the representation of idealized childhood well into the first decade of the twentieth century. The puer aeternus, associated with Iacchus, a version of the god of the harvest, Dionysus and incidentally, connected with the Eleusinian mysteries associated with the cult of Persephone , symbolizes eternal childhood.
This formulation, of course, sharply contrasts with the emphasis on coming of age, being educated, and childhood as a preparation for adulthood. Thus, Kenneth Grahame, in The Golden Age , a nostalgic reflection on his own childhood, glorifies childhood as a pastoral idyll run according to its own rules and impenetrable to adults, who have lost the ability to perceive through intuition and imagination and who are instead bound by the rules of society rather than the laws of nature.
His The Wind in the Willows leaves human society almost entirely behind, focusing on the adventures of English field and water animals who nevertheless have memorable encounters with matters classical.
The gruff and wise old Badger lives in the ruins of an ancient Roman settlement, his fierceness suiting this location with its echoes of ancient battles and learning. The animal characters of The Wind in the Willows enable readers to envisage a world free from the trammels of adult life, at the same time as permitting an allegorical reading of their actions the British class system is alive and well among the creatures of The Wind in the Willows.
When Pan appears, however, he promises an idealised version of nature and of childhood: significantly, more than any other animal, he protects the baby otter, Portly.
Pan appears in other guises. Dickon is explicitly a Pan-like figure, playing a wooden pipe and surrounded by animals: It was a very strange thing indeed.
She quite caught her breath as she stopped to look at it. A boy was sitting under a tree, with his back against it, playing on a rough wooden pipe. He was a funny looking boy about twelve. And on the trunk of the tree he leaned against, a brown squirrel was clinging and watching him, and from behind a bush nearby a cock pheasant was delicately stretching his neck to peep out, 7 Kenneth Grahame.
The Wind in the Willows. When he saw Mary he held up his hand and spoke to her in a voice almost as low as and rather like his piping. James Barrie in Peter and Wendy shows Peter Pan as a sometimes menacing symbol of the delights and lawlessness of childhood, in Never-Neverland, a carnivalesque pastoral space, which parodies the nursery of socialized urban children.
With its pirates and Indians and crocodiles and wild beasts, it is a wild and separate space from the constraints of middle-class, rule-bound Edwardian childhood, reinforcing the divide between children and adults.
In these late-Victorian and Edwardian stories, childhood is divided from adulthood not because it is inferior to adulthood or because children need to be trained and educated in order to find appropriate roles, but because it is separate and superior, attuned to a pastoral and nostalgic spirit of nature presided over by pagan, rather than Christian gods.
Here we find classical imagery used to symbolize the genius of childhood itself. To be truly a child is to be innately talented, to be at one with nature, to have access to the imagination and powers of creativity, and to look cynically at the follies of adult life. It is a rejection of Victorian mores, an expression of alienation and worry about the modern world, and a rejection of adulthood as 9 Frances Hodgson Burnett, The Secret Garden Oxford: Oxford University Press, 97— Character development, in the terms in which Thomas Hughes or Susan Coolidge understand it, is irrelevant in this version of talented children, who possess, much in the way that Alice does in Wonderland, sufficient abilities to engage with the perils of fantasy.
They also do not require training to reach adulthood. In this novel, three middle-class children, Kathleen, Jerry and Jimmy, are marooned at school during the holidays, owing to measles at home. Through this ring, the children learn about the dangers of getting what you wish for. The story is a chaotic cornucopia of various kinds of enchantments, transformations, and adventures, some quite frightening. Again, the classical emerges: this time, in the form of statues and temples dotted around the castle grounds, including temples of Flora and Phoebus, statues of Eros, Psyche, Hebe, Ganymede and more.
These statues are inspired by the Greek statue room at the British Museum which Nesbit enjoyed visiting as a child. They are a little frightened by the sudden coming to life of the statues, but recognize the different classical gods and goddesses — and enjoy the picnic. The scenes, as Nesbit depicts them, are a mixture of the marvellous and the uncanny, and the mundane and middle-class. Some twenty or thirty figures there were in the group all statues and all alive…Some were pelting each other with roses so sweet that the girls could smell them even across the pool.
Others were holding hands and dancing in a ring, and two were sitting on the steps playing cat's-cradle which is a very ancient game indeed with a thread of white marble. This shows them to be superior to the adults around them, some of whom are servants, some of whom are teachers, some of whom are aristocrats and all of whom are completely unable to cope with the effects of enchantment. In an odd concluding plot point, the children restore the wealth of the estate to the impoverished owner Lord Yalding, by revealing to him a cache of jewellery; they resolve his broken romance by bringing his lost love their French teacher to him.
In celebration of the happy ending, the lovers and the children together revisit the statues, coming together to worship the moon: Afterwards none of them could ever remember at all what had happened. But they never forgot that they had been somewhere where everything was easy and beautiful. And people who can remember even that much are never quite the same again.
And when they came to talk of it next day they found that to each some little part of that night's great enlightenment was left. All the stone creatures drew closer round the stone — the light where the moonbeam struck it seemed to break away in spray such as water makes when it falls from a height. All the crowd was bathed in whiteness. A deep hush lay over the vast assembly. Then a wave of intention swept over the mighty crowd.
All the faces, bird, beast, Greek statue, Babylonian monster, human child and human lover, turned upward, the radiant light illumined them and one word broke from all. Accordingly, he and Mademoiselle deprive the ring of its magic powers, by 11 12 Ibid.
The pastoral idyll of childhood can only be joined by lovers and only temporarily, and not without exacting a toll on them before the everyday socialized world reasserts itself. It does not do that, however, without regret. Adults are not as willing to give themselves over to the spirit of nature. Even Ratty and Mole as adults though they are animals later have no memory of their encounter with Pan.
It must be observed that Victorian and Edwardian ideals of childhood are quite different to what the Romans thought about children, and indeed the stories, images, motifs and allusions employed do not actually engage with Roman concepts of childhood. For the most part the writers concerned refer to epic or myth, deploying them to support their own grapplings with post-Romantic conceptions of childhood, rather than to engage with any true or historically accurate approach to classical material.
Further, it should be noted that Victorian and Edwardian writers do not generally engage with classical versions of childhood, focusing instead on the canonical myths and literature.
Classical allusions are as much of an imposition on real childhood as any other representation of childhood by adult writers. All the same, changing ideas about childhood, and changing uses of classical material to connect with representations of childhood, are revealing. Of course, this variety is reflective of the complexity and richness of classical culture, the texts, history, 13 Ibid.
It also reflects the richness and depth of the classical tradition, as a shared body of knowledge that pervades a wide variety of literatures and cultural contexts. Broadly speaking, we can see classical references, allusions, ideas and narrative structures playing a significant part in the transition from a moralistic and developmental representation of childhood as a state of being that requires education, training, and improvement before the onset of adulthood, to a static almost anti-developmental version of idealized childhood that is superior to, or more powerful than, adulthood.
The novels examined here, of course, are not specifically classical in intent and purpose: they are not historical novels, set in Ancient Greece or Rome; they do not set out to teach classical material to child readers. That occurs in other genres. And when once people have found one of the little weak spots in that curtain which are marked by magic rings, and amulets and the like, almost anything may happen.
Publishing as E. Nesbit, she wrote dozens of books — novels, short stories, and poetry — for both children and adults, and while many concerned themselves firmly with reality, for example her well-known The Railway Children , a considerable number of her novels for children invited readers to follow the young protagonists behind the curtain in order to explore new worlds, encounter strange creatures, and undergo marvellous transformations.
Nesbit, The Enchanted Castle and The Magic City , offer additional episodes in which unexpected and magical connections with the classical past are made, and we will consider them briefly as well. In The Story of the Amulet, first published in serial form in The Strand Magazine, the four children Robert, Anthea, Cyril, and Jane; their baby brother is away with their mother , accompanied by the 1 I am grateful to Lisa Maurice, Helen King, Richard Alston, Bruce Routledge, and the audiences at seminars at the University of Liverpool and Royal Holloway, University of London, for their helpful comments and suggestions as this research progressed.
Considering why ancient history should be the best vehicle for conveying these reflections to children will allow us to explore not only what antiquity might have meant for Nesbit herself, but also for audiences whose reception of the classical past has, to date, received less attention.
Nesbit — London: Penguin Books, Recent works which include a more focused consideration of the Edwardian era include Mark Bradley, ed. Furthermore, this chapter will offer a new perspective on the life and works of Nesbit herself, by uncovering the full extent to which her reception of the ancient past was influenced by key figures in her personal and intellectual milieu. History and Magic When The Story of the Amulet opens, the amulet in question has recently been bought from a London bric-a-brac shop by Robert, Anthea, Cyril and Jane, on the suggestion of the psammead, whom they have also just purchased after stumbling across him in a pet shop.
Though he can no longer grant their wish — that their parents should come back home — he directs them towards the mysterious artefact, which will ensure that their wish can be granted, if only they can track down its other half, in order to make it whole again. Before examining these episodes in detail, let us first say a few words about how and why Nesbit might have cast this novel with such a strong historical sense. Nesbit 33 explore the past to such an extent.
Although, as we will see, she consulted professionals for historical inspiration and information, Nesbit herself was no scholar writing quickly completing The Railway Children simultaneously with The Amulet without time for exhaustive research, she had no desire to give her readers a dry history lesson for its own sake.
Instead, Nesbit recognises that conjuring the feel of history resonates much more strongly with children than didacticism, as a passage in Five Children makes clear. Its being in the Past makes it quite different from the Phoenix and Carpet happenings. See also Royal W. Briggs, D. Butts and M. Grenby, eds. Rider Haggard and Marie Corelli which, as David Gange describes, gradually threw off its biblical moorings after the turn of the century. The stock ancient Egyptian imagery of the grotesque and barbaric, which had 13 14 15 Page numbers refer to the Puffin Books edition.
Nesbit 35 spent several decades subdued by a more homely, civilised and biblical Egypt, re-emerged emphatically. Thwarted in their attempts to seize the amulet, the children are then often subjected to an attack or imprisonment, from which they must again summon up the magic of the amulet, or the psammead, to escape, so that they might return to their own time.
Blavatsky, Besant, and many other Theosophists soon turned their attention to religious belief further east, however, particularly India. Jones, ed. The first journey sees the children arrive on the banks of the Nile, 8, years ago. The children then escape a band of attackers who are besieging the settlement, by the skin of their teeth. This close shave puts them off any further historical adventures for a while, but when they hear the learned gentleman describe Babylon as a great city that may once also have housed the amulet, they decide to travel there.
Later in the novel, they return to a much later though unspecified period in Egyptian history. We might guess that the children are visiting the city under the reign of Nebuchadnezzar ii c. The use of the name Ritti-Marduk for one of the court attendants must derive from a cuneiform inscription that Nesbit could have seen in the British Museum me , but this is dated to the reign of Nebuchadnezzar I, some years earlier. Nesbit 37 Egyptian magic, but also calls attention to the difference between past and present, once more; both the Edwardian children and the ancient peoples that they meet see strangeness in the objects and customs that the other displays.
It transpires that he possesses the other half of the amulet, and, like the children, has been tracking the missing half. When the captain of the boat steals his amulet, he joins forces with the children to chase after it, narrowly escaping a shipwreck. Politics and Utopias The young time-travellers — and the readers of their adventures — are clearly meant to revel in the exotic excitement of these ancient cities.
Even as these cities harbour threats to the children, the magic amulet can always whisk them out of danger and back home to present-day London. But there is more to the portrayal of these ancient times than thrill-seeking, for Nesbit interweaves brief but incisive commentary on her own society into the novel. Rahn — As they journey down the Mile End Road, she wonders at the people she sees: [H]ow badly you keep your slaves.
By channelling criticisms of her society through the Queen of Babylon, Nesbit gives them extra bite, for if London comes off worse by comparison with the ancient city that, in the eyes of many, is synonymous with immorality and evil, then it really must be very bad. Stephen Prickett, Victorian Fantasy, 2nd. Waco: Baylor University Press, Nesbit 39 the learned gentleman. When the siblings meet a young boy, who takes them home to his mother, they learn that his future schooling contains lessons in Citizenship, and that his minimalist house comes equipped with its own soft-play room in which children cannot hurt themselves.
In short, this future London realises the socialist utopia that Nesbit and her contemporaries dreamed of, at a time when the question of how to make urban landscapes fit for their people — and fit for the imperial project — was being most energetically debated, not least by the Fabian Society. See also M. For the wider context in which Nesbit was writing, see Beaumont Briggs —3.
As before, the tour of the city leads the children to witness an unusual rite — the ten Kings sacrificing bulls in the Temple of Poseidon — before they narrowly escape certain disaster, this time the very destruction of Atlantis as its volcano erupts and tsunamis engulf the city.
The search for Atlantis was finally leading, it seemed, to tantalising archaeological and geological data which could redefine the city as more history than myth, and if Nesbit was aware of these debates, it would suggest that she included Atlantis at least partly because it now had better claims to be historical, rather than simply mythical, subject matter.
As it happens, the first publication of these ideas in English was in , too late for The Amulet, but it may not be too far-fetched to suggest that Nesbit — or her scholarly acquaintances, such as Oswald Barron — could have picked up on them in informal circulation. Nesbit 41 Ultimately, though, the historical credentials of Atlantis are less important for Nesbit than its role as a utopia, and its equally well-established associations with magic and mystery.
The psammead informs them that it is the year 55 bce. Knopf, — Ellis —9 on Verne , 39—43 on Donnelly , 70 on Blavatsky. My Daddy, my Daddy! By suggesting that Celtic Britain was a more humane society than that of the early 20th century, Nesbit touches on debates over British identity and racial origins that had been unfolding since the late 18th century. Modern Britons could follow a number of different paths into their distant past in the search for the ancestors that would best account for their current world-leading status, and provide the most acceptable templates or models for their future.
Earlier Romantic affinities with the indigenous Celts were largely overwritten, in the 19th century, by the belief that the invading Anglo-Saxons, or Teutons, were the true ancestors of the British — strong, noble, Christian upholders of law and liberty and crucially deemed to be racially superior who were far more acceptable than conquered Celts or the decadent Romans.
See especially Carolyn D. Nesbit 43 throughout the British Isles, not only on its peripheries. Here, offering readers a fantasy glimpse of a Britain which was never conquered by Rome, the invasion is very nearly called off. Richard Hingley 76— Introductory Lectures on Modern History , quoted in Butler We have already observed the possible influence of friends and acquaintances Oswald Barron, Annie Besant, and H.
Wells, but her ties to Shaw run deeper still. After establishing a friendship with the fellow Fabian in , by late , Nesbit and Shaw were involved in a brief but intense love affair;35 though it soon fizzled out, they remained on good terms for many years. In the first stage of consultation, community members can share their ideas and information by visiting our website and filling out the online survey. Submissions close on Friday, March While the library will be closed from March 3—19, a pop-up library with limited services will be open from 9am to 5pm, Monday to Friday, at the Beerwah Community Hall.
Do you have an interest in bees? Come along to our practical native stingless bee workshop at Maroochy Bushland Botanic Gardens, Tanawha, on March 10 from 8. Book via events. Yoga lovers book this one in your diary. Ticket details are at events. Come along to celebrate the official opening with the Palmwoods community on Saturday 10 March at 11am-5pm. There will be live entertainment and food available from local businesses.
The awards, which showcase new or creative uses of technology, are now open for students in years 10 to 12 who attend a school in our Sunshine Coast Council region. My thanks go to Telstra for its continuing support of these awards.
For more details, go to www. The first round closes on April The Road Reseal and Rehabilitation Program also resolves issues with roads affected by extreme weather conditions such as storms, flooding and high temperatures.
We encourage residents and visitors to be aware of potential damage to our roads caused by severe weather events. Pets and wildlife like to stay cool too. Make sure you have lots of fresh, clean water available. Keep up to date with the news and information in your part of the Coast. Please be aware that detours may be in place around roadworks to help with traffic flow while works are in progress, so please slow down and follow traffic directions near all roadworks for your safety and that of the people working on our roads.
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Thursday 1 March 3. Screening of the powerful documentary Embrace by Taryn Brumfitt. When body image activist Taryn Brumfitt posted an unconventional before-and-after photo in it was seen by more than million people worldwide and sparked an international media frenzy.
Wednesday 7 March 4 — 6pm Lake Kawana Community Be empowered to take your health into your own hands. Join Emily Holmes from Conscious Foodie. Join Nicole Gibson who is a fierce ambassador for mental health, having recently completed three terms as the youngest Commonwealth Commissioner for Mental Health.
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USC teaches entrepreneurship as part of its business degrees. It also hosts the Innovation Centre on campus, which is a hub for innovators, entrepreneurial start-ups and high-growth companies. To view the report, visit digitalsunshinecoast. Regulatory risks remain — not least of which is the Royal Commission this year — but the sector looks inexpensive versus the market and the bulk of regulatory headwinds have already been weathered.
For Westpac, we think the major risk relates to the ongoing asset quality of the mortgage book, although we believe the book is well secured and the economic backdrop is improving. He can be contacted on This article contains general financial advice only and does not consider your personal circumstances; you should determine its suitability to you.
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Over five years, she built it up into an internationally renowned event attracting more than 10, visitors. The festival then floundered when the management changed hands and it was on the brink of collapse when Eumundi Markets offered it back to Mrs Taylor to run. As the president of the Cooroy Chamber of Commerce, she rallied her local community to get behind it. We took it back to how we used to run it, which was a community-style event.
Everyone had buy-in. There were a lot of challenges. Artists from all over Australia pay to enter the competition, which offers cash prizes for best air brushing, best brush and sponge body art and best special effects and wearable art. Transparency of Investing - By utilising direct investments, one layer of fees is eliminated and all fees are totally transparent. You will know exactly how you are invested and what income your portfolio can be expected to generate.
Sure we were all mystified when he sent his Starman crash test dummy into space in a Tesla. But this whole car in space exercise was a ruse, people. Why would you need that? All under his control. He even wants to build a. And what about his supervillain name? Elon Musk, Lex Luthor. Elon Musk, Auric Goldfinger. Elon Musk, Hans Gruber. Elon Musk, Hank Scorpio. In short Elon Musk could be a supervillain. I call them Muskavites. But they are the sheeple. But sadly, Danielle Steel missed so many opportunities to transform her tale of the wicked stepmother into a wild and fantastical ride.
With her signature storytelling style, very little time is spent on conversations between characters, with more of a narrative storyline that makes it hard to feel sympathy for the heroine as she is subjected to out-of-this-world cruelty by the woman her father had been married to for a short time before passing away.
Despite being subjected to all manner of unspeakable behaviour by her stepmother and her two sons, she seems unable to do much to defend herself. While there are some fairytale elements, they are few and far between, making it a somewhat pedestrian read that can help with a touch of escapism.
This love of the monochromatic state has undoubtedly left a lasting impression as it continues to guide her work through her adult journey as an artist. You can join Ms Prost for a workshop, where she will take you through her process of incising paper and Perspex using small electric carving tools. With this method, you will be able to produce unique patterns. The Carve Your Marks workshop is on February 23 from To book, email beatrice.
The creative minds that brought the annual Open Studios and Sculpture on the Edge projects converge on the Butter Factory Arts Centre this month for a group exhibition.
The play, which will be performed at Lind Lane Theatre, is about year-old Helen Keller, who has graduated from Radcliffe College with the help of her teacher, Anne Sullivan, and is preparing to write her famous book The Story of My Life. Director Glenda Campi says it is a story of transformation on many levels. For more information, visit lindlane. Your health requires some focused attention, so spend quiet quality time on your own this week, as the full moon illuminates your solitude zone.
Activities like reading, meditation, yoga, and walking in nature would all suit. Family and friends will demand your attention, but the full moon urges you to take time out for yourself.
The pressure is on, and family will also demand plenty of your time. If you promise more than you can deliver, everyone will just end up disappointed.
How on Earth will you get everything done? Enthusiasm and persuasion are the keys. Money matters loom large as the full moon fires up your finance zones. Plus, Venus and Jupiter send a confidence boost your way, especially involving your public reputation or inner self-esteem — so be on the look-out for a lucky opportunity.
One possible answer shown below. QUIZ 1 What is the atomic number of oxygen? The full moon fires up your finance zones and encourages your tendency to be hasty with cash and careless with credit. To quibble 5 Obstruct 3 Wealthy 4 Proverbially hard worker 6 Anxious uncertainty 8 Having many different skills 9 Ward off 7 The other way round 4,5 Time between events 8 Different version 7 Rubble 6 Civic head 5 Weaving machine 4 Badly 3.
Many crabs will be in cranky and hyper-sensitive mode as the full moon stirs up chaos in your communication zone. QUIZ: 1. Townsville 3.
Nebula 4. RMS Lusitania 5. Iodine 6. Radio detection and ranging 7. Russia 8. Arabic 9. Jenny The full moon falls in your domestic zone, so get your house in order and tackle jobs with extra gusto. Avoid short cuts; it will only mean you have to do things twice.
Bulls can sometimes blunder around being insensitive. Aries are such independent folk. You pride yourself on being able to do just about everything yourself. Phone facebook. Property prices across the Sunshine Coast have risen sharply over the past 12 months. The research, which was commissioned by Aussie Home Loans, saw the renowned researchers look at several factors, including percentage of family households in each suburb, affordability and Census data.
Mountain Creek was found to be the most family-friendly suburb in the region. This may not come as a surprise to most, since the area has a strong reputation for being coveted by families seeking to live within the Mountain Creek school catchment and close proximity to the beach. The only two beachside suburbs to make it into the top 20 were Yaroomba and Wurtulla, which came in at 11th and 19th respectively.
North Shore Realty agent Jonathon Cameron says he is not surprised to see Peregian Springs rank second in the list, with its location a short drive to the beach among its many qualities.
Not only that, the. Magnificent home designed by award winning architects. Open plan living inside spills out to the outdoor entertaining area. Noel Mooney noel northshorerealty. Three two-bedroom apartments are well appointed, with Kleenmaid appliances in the kitchens, ocean glimpses and the choice of a large balcony or large landscaped courtyard.
The penthouse is absolutely divine - featuring gorgeous ocean views, 4 bedrooms, 2 bathrooms and a powder room. Everything is of the absolute best quality and the design has been well thought out - with each room featuring either hinterland or ocean views. Replace video. Add lyrics on Musixmatch. Do you know any background info about this track? Start the wiki. Wheeler Walker Jr. Don't want to see ads? Upgrade Now. Scrobbling is when Last. Learn more.
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