title: A study of early Caroline lyric verse with special attention to that of Thomas Carew and Robert Herrick

authors: McLaren, Margaret Cameron

abstract: In this thesis a range of secular lyrics written during the reign of Charles I, and often slighted since, is surveyed. Special attention is directed to the work of Thomas Carew and Robert Herrick.
First the historical background of the period, with its social and political tensions, is examined. The court is seen as a bastion of privilege, a cause for resentment and, at the same time, a nurturing ground for great poetic talent.
In the tradition of earlier monarchs, Charles I was an earnest patron of the arts; and from their country estates, literary aristocrats like Lord Falkland also gave personal and practical encouragement to artists, especially poets.
The poets in their turn, though they did not always admit it, took their work seriously, creating a myriad of lovely lyrics in which classical, medieval and Renaissance themes and conventions are used, challenged and reworked.
The influence of John Donne and Ben Jonson is seen to have been considerable. Donne had provided a model of personal, dramatic and closely-reasoned “strong lines”. And Jonson encouraged controlled reliance on classical poets “as Guides, not Commanders”, and wrote poetry and criticism in clear idiomatic English, with a respect for the rhythms of both speech and song. 
The development of music, in particular the increasing popularity of the declamatory air in which individual words were heard clearly so that each was important, affected early Caroline lyrics, and was affected by them. To a lesser extent, but just as surely, drama, masque and dance left their mark on the lyric form.
Whether, like Carew, the early Carolines wrote lyrics to be circulated in manuscript, or like Herrick, to be published, the best of them were highly conscious of their craft, and sensitive to the laws of proportion and decorum. They treated their favourite themes, love, philosophy, court and country living, politics and social occasions, the occult, the abnormal and the comic, from many angles, with varying degrees of sensitivity, knowledge and sophistication.
Thomas Carew’s polished amatory and occasional poems “netts, of passions finest thred”, are shown to investigate human relationships with frankness and scintillating wit. 
For all their unpretentious charm and freshness, the lyrics of Robert Herrick, in the context of the whole of Hesperides, are seen to have immense range, depth and assurance. With his love of friends and family, his appreciation of living things, his acceptance of the beautiful and the ugly, his delightful sense of fun, his bold comments on the world about him, and his insistence on the worth of human joy, Herrick has earned the immortality he considered his due.
The court poets, and in particular Thomas Carew and Robert Herrick, wrote an abundance of thoughtful finished lyrics, “rare perfections” to use Carew’s words, which can both give great pleasure and increase our understanding of the complexities of life.

text: A study of early Caroline lyric verse with special attention to that of Thomas Carew and Robert Herrick In this thesis a range of secular lyrics written during the reign of Charles I, and often slighted since, is surveyed. Special attention is directed to the work of Thomas Carew and Robert Herrick.
First the historical background of the period, with its social and political tensions, is examined. The court is seen as a bastion of privilege, a cause for resentment and, at the same time, a nurturing ground for great poetic talent.
In the tradition of earlier monarchs, Charles I was an earnest patron of the arts; and from their country estates, literary aristocrats like Lord Falkland also gave personal and practical encouragement to artists, especially poets.
The poets in their turn, though they did not always admit it, took their work seriously, creating a myriad of lovely lyrics in which classical, medieval and Renaissance themes and conventions are used, challenged and reworked.
The influence of John Donne and Ben Jonson is seen to have been considerable. Donne had provided a model of personal, dramatic and closely-reasoned “strong lines”. And Jonson encouraged controlled reliance on classical poets “as Guides, not Commanders”, and wrote poetry and criticism in clear idiomatic English, with a respect for the rhythms of both speech and song. 
The development of music, in particular the increasing popularity of the declamatory air in which individual words were heard clearly so that each was important, affected early Caroline lyrics, and was affected by them. To a lesser extent, but just as surely, drama, masque and dance left their mark on the lyric form.
Whether, like Carew, the early Carolines wrote lyrics to be circulated in manuscript, or like Herrick, to be published, the best of them were highly conscious of their craft, and sensitive to the laws of proportion and decorum. They treated their favourite themes, love, philosophy, court and country living, politics and social occasions, the occult, the abnormal and the comic, from many angles, with varying degrees of sensitivity, knowledge and sophistication.
Thomas Carew’s polished amatory and occasional poems “netts, of passions finest thred”, are shown to investigate human relationships with frankness and scintillating wit. 
For all their unpretentious charm and freshness, the lyrics of Robert Herrick, in the context of the whole of Hesperides, are seen to have immense range, depth and assurance. With his love of friends and family, his appreciation of living things, his acceptance of the beautiful and the ugly, his delightful sense of fun, his bold comments on the world about him, and his insistence on the worth of human joy, Herrick has earned the immortality he considered his due.
The court poets, and in particular Thomas Carew and Robert Herrick, wrote an abundance of thoughtful finished lyrics, “rare perfections” to use Carew’s words, which can both give great pleasure and increase our understanding of the complexities of life.

year: 1977

title: Reflective practice and inquiry: Let’s talk more about inquiry

authors: Earl Rinehart, (Suzanne) Kerry

abstract: Reflective practice and inquiry are aspects of teacher professional practice that characterise teachers as learners. Reflective practice in some form is considered in contemporary education as an essential activity for teachers and teacher educators. ‘Inquiry as professional development’ and ‘inquiry as research’, on the other hand, are forms of reflective practice designed and intended to go beyond the personal. We explore the following three research and two inquiry approaches that teachers can use to inform their practice and contribute to our collective knowledge about teaching: the research methods of self-study, autoethnography and action research, and the inquiry approaches ‘teaching as inquiry’, and ‘spiral of inquiry’. Any research or inquiry approach used needs to fit purpose, language use, positioning as a researcher and writer, degree of reflexivity and the degree of public critique of the project. When the chosen approach fits, our research work has a better chance of improving teaching, student progress and achievement, in short: being useful to others.

text: Reflective practice and inquiry: Let’s talk more about inquiry Reflective practice and inquiry are aspects of teacher professional practice that characterise teachers as learners. Reflective practice in some form is considered in contemporary education as an essential activity for teachers and teacher educators. ‘Inquiry as professional development’ and ‘inquiry as research’, on the other hand, are forms of reflective practice designed and intended to go beyond the personal. We explore the following three research and two inquiry approaches that teachers can use to inform their practice and contribute to our collective knowledge about teaching: the research methods of self-study, autoethnography and action research, and the inquiry approaches ‘teaching as inquiry’, and ‘spiral of inquiry’. Any research or inquiry approach used needs to fit purpose, language use, positioning as a researcher and writer, degree of reflexivity and the degree of public critique of the project. When the chosen approach fits, our research work has a better chance of improving teaching, student progress and achievement, in short: being useful to others.

year: 2016

title: The Indigenous Exchange Forum: transitions in mine closure

authors: Holcombe, Sarah

abstract: “The Indigenous Exchange Forum: transitions in mine closure” was held on 2–3 November 2021 over Zoom, hosted by the Centre for Social Responsibility in Mining (CSRM) in the Sustainable Minerals Institute (SMI), at The University of Queensland.
The Forum aimed to affirm, connect, and elevate the voices of First Nations leaders and interested community members impacted by mining and mine closure. In doing so, we hoped to begin to build an international network across these Indigenous communities, to enable the sharing of experiences, struggles, and sentiments in relation to mine site transition and mine-related impacts on their lands.
The intent was to recognise each other’s unique cultural position and the impact of mining and mine closure through lessons learned: first with each other and then with industry.
The Forum had a strong foundation of reciprocity. The objective was:
•To provide an independent and culturally safe space to facilitate the connectionbetween First Nations peoples, whose customary lands have been impacted bymining.
•To position First Nations voices individually and collectively in a shared learningjourney full of experiences and lessons learned through online network exchange.
•To facilitate knowledge exchange and elevate the connectivity between Canadian,Australian, and Aotearoa (New Zealand) First Nations regarding impacts, issues, andinnovative ideas and practices in response to mine site transitions and mine closure.

text: The Indigenous Exchange Forum: transitions in mine closure “The Indigenous Exchange Forum: transitions in mine closure” was held on 2–3 November 2021 over Zoom, hosted by the Centre for Social Responsibility in Mining (CSRM) in the Sustainable Minerals Institute (SMI), at The University of Queensland.
The Forum aimed to affirm, connect, and elevate the voices of First Nations leaders and interested community members impacted by mining and mine closure. In doing so, we hoped to begin to build an international network across these Indigenous communities, to enable the sharing of experiences, struggles, and sentiments in relation to mine site transition and mine-related impacts on their lands.
The intent was to recognise each other’s unique cultural position and the impact of mining and mine closure through lessons learned: first with each other and then with industry.
The Forum had a strong foundation of reciprocity. The objective was:
•To provide an independent and culturally safe space to facilitate the connectionbetween First Nations peoples, whose customary lands have been impacted bymining.
•To position First Nations voices individually and collectively in a shared learningjourney full of experiences and lessons learned through online network exchange.
•To facilitate knowledge exchange and elevate the connectivity between Canadian,Australian, and Aotearoa (New Zealand) First Nations regarding impacts, issues, andinnovative ideas and practices in response to mine site transitions and mine closure.

year: 2022