Sunda oakley biography of donald
Variation in forearc basin development along the SundaArc, Indonesia
NASA Astrophysics Data System (ADS)
van der Werff, W.
The present forearc basin configuration along the SundaArc initially appears to have been controlled by extension and differential subsidence of basement blocks in response to the late Eocene collision of India with Asia. The late Oligocene increase in convergence between the South-east Asian and Indian Plates associated with a new pulse of subduction, resulted in basement uplift and the formation of a regional unconformity that can be recognized along the entire SundaArc. From the early to late Miocene, the Sumba and Savu forearc sectors along the easternSundaArc may have been characterized by forearc extension. Submarine fan deposition on the arcward side of the evolving accretionary prism represents the first phase in forearc basin deposition. These fans were subsequently covered by basin and slope sediments derived from the evolving magmatic arc. Structural response to increased late Miocene compression varied along strike of the SundaArc. North of Bali, Lombok and Sumbawa, the incipient collision between Australia and the western Banda Arc caused back-arc thrusting and basin inversion. Towards the south of Java, an increase in both the size of the accretionary prism and convergence rates resulted in uplift and large scale folding of the outer forearc basin strata. Along the west coast of Sumatra, increased compression resulted in uplift along the inner side of the forearc along older transcurrent faults. Uplift of West Sumatra was followed by the deposition of a westward prograding sequence of terrigenous sediments that resulted in the development of a broad shelf. Initial forearc basin subsidence relates to the age of the subducting oceanic lithosphere, on top of which the basin is situated. Along the western SundaArc, both fexural loading of the evolving accretionary prism, and across arc strike-slip faulting represent additional f American actress and singer (1922–1969) Judy Garland (born Frances Ethel Gumm; June 10, 1922 – June 22, 1969) was an American actress, singer, and vaudevillian. Renowned for her powerful contralto voice, emotional depth, and versatility, Garland rose to international fame as Dorothy Gale in The Wizard of Oz (1939), a role that cemented her status as a Hollywood legend. Garland began her career as a child performer in vaudeville alongside her sisters as part of The Gumm Sisters. At age 13, she was signed by Metro-Goldwyn-Mayer (MGM), where she starred in numerous musical films, including The Wizard of Oz (1939), Meet Me in St. Louis (1944), Easter Parade (1948), and Summer Stock (1950). Known for her collaborations with Mickey Rooney and director Vincente Minnelli (her second husband), Garland became one of MGM's most bankable stars during the Golden Age of Hollywood. Beyond her film career, Garland achieved success as a recording artist and concert performer. Her 1961 live album, Judy at Carnegie Hall, won two Grammy Awards, including Album of the Year, making her the first woman to receive the honor. She also hosted her own Emmy-nominated television series, The Judy Garland Show (1963–1964), and received a Special Tony Award for her contributions to the revival of vaudeville. Garland's film career saw a resurgence in the 1950s and 1960s with critically acclaimed performances in A Star Is Born (1954) and Judgment at Nuremberg (1961), which she received Academy Award nominations for, and has released eight studio albums. She has additionally received a Golden Globe Award and was one of twelve people in history to receive an Academy Juvenile Award. At age 39, Garland became the youngest, and first female recipient of the Cecil B. DeMille Award for lifetime achievement in the film industry. Throughout her career, Garland recorded and introduced numerous songs including "Over the Rai This paper challenges the oft-repeated conventional story of the beginning of ‘modern’ Australian archaeology, seen as the era of the professional archaeologist that succeeded an undisciplined phase of indiscriminate collecting of skulls and stone artefacts by ‘amateurs’ who, on the whole, believed that Indigenous Australians had arrived on the continent so recently that any excavation of archaeological sites would be pointless. Cambridge-trained John Mulvaney’s excavations at Fromm’s Landing on the Murray River in South Australia commencing in January 1956 have been seen most recently as marking the decisive break, one between ‘good’, professional and ethical archaeology and the earlier ‘bad’ amateur period of mere antiquarianism, ignoring the concerns of and trampling upon the rights of Indigenous Australians in the spirit of triumphant colonialism. This contrast is inaccurate, overdrawn, and ignores the positive contribution of many earlier conscientious scholars; labelling all of them as ‘amateurs’ confuses rather than enlightens the history of Australian archaeology. We, as scholars must stand on the shoulders of our predecessors, endeavouring to give to our successors a platform just a bit higher than the one on which we ourselves first stood. We can build on the platform of previous research only if we have taken the trouble to learn about it – Harvey M. Bricker. The title of this paper may sound a bit extreme; however, it is largely justified when one examines the primary evidence for the history of Australian archaeology compared to the myth of its development promoted by the 1950s’ and 1960s’ generation of academic archaeologists. It is myth unthinkingly repeated by scholars as the standard paradigm for the discipline’s history in Australia today. The myth creates a rupture between the practices of modern ‘prof .Judy Garland
Bulletin of the History of Archaeology
Research Paper: Asia/Pacific
Abstract
The foundation myth of Australian archaeology