"Narrative of a Survey of the Intertropical and Western Coasts of Australia, Vol. 2," tells about the discovery of Australia by the expeditions of Phillip Parker King, an early explorer of the Australian and Patagonian coasts. He led several expeditions around the coasts of Australia in 1818 and 1820, during which they established contacts with the locals and made important historical observations.
Boongaree accompanied King on his first voyage, 21 December 1817; Bundell accompanied King on 26 May 1821 voyage; mentions of both Aboriginal men throughout; intermittent encounters with natives throughout journeys, main references - v.1, p.4; Twofold Bay natives sighted, woman covered with kangaroo skin; p.38+ Native taken on board near Enderby Island, physical description of Aborigines, logs of wood used for transporting families across river; p.88+ Attack by natives at Port Essington, description of canoe used and taken by Capt. King; p.110+ Melville Island, natives timid, exchanges food & water for axes; p.159+ Outer Bay (Tas.) Physical appearance, clothing, small vocab. (parts of body, names of plants, obtained by Mr. Cunningham); p.175. Port Macquarie - sheets of bark used for water transport, types of huts; p.197. Palm Island - huts and canoes examined; p.200+ Goode Is. Fishbooks and lines exchange for baskets and turtle pegs, males had noses pierced, bracelet of plaited hair only ornament worn; Types of ovens used, natives very friendly; p.212. Intercourse with natives at Endeavour River; p.366. Endeavour R. small vocab. collected by Mr. Cunningham; v.2, p.27+ Description of rock carvings & paintings on Clack Island; p.61+ Hanover Bay natives spear Surgeon, natives hostile, description of catamarans, description of weapons and implements, physical appearance; p.120+ Intercourse with natives at Oyster Harbour, firesticks, eating of seal; Full description of weapons, clothing, small vocab., names of natives; p.139. Pt. Essington - open hostilities; Appendix D; comparative table of languages of natives of Caledon Bay (Flinders), Endeavour R. (Capt. Cook & Forster), King George the Third Sound, Port Jackson, Burrah Burrah tribe (Scott), Limestone Creek (Oxley), Port Macquarie (Hunter), Van Diemens Land.
Late eighteenth- and early nineteenth-century Eurocentric perceptions of natural history led to the flora and fauna of the new colony of New South Wales being viewed as deficient and inferior. The swans of the colony were black and eagles white, birds built shell-strewn avenues of sticks to cavort in and parrots walked on the ground. The mammals carried their young in a pouch and there were furred animals that laid eggs. This 'miscellany of the curious' fuelled the rage for Australian natural history amongst the upper classes of Europe, bringing income and, occasionally, fame to its collectors and documenters. On the ground, in the colony, it contributed to great change for the animals and, in some cases, extinction. In Upside Down World author Penny Olsen documents how our scientific knowledge evolved, using collectors' and naturalists' journals to enhance her stories.
This book is written by Peter Macinnis, the recipient of the Eve Pownall award in the 2010 Children's Book Council of Australia Awards for the sister publication, Australian Backyard Explorer. In Australian Backyard Naturalist, Peter enthusiastically explores the animals that inhabit the places in which we live, from the furry to the slimy, the large to the tiny. He keeps readers entertained with stories about his own adventures with Australias creepy crawlies and other creatures, as well as collectors and naturalists stories from the times of first European settlement to recent times.
This book aims to redefine Australia’s earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term’s use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of "Aboriginal art" developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.
