Shirley Winifred Jeffrey 1930–2014

2016 ◽  
Vol 27 (1) ◽  
pp. 81 ◽  
Author(s):  
Simon W. Wright ◽  
Gustaaf M. Hallegraeff ◽  
R. Fauzi C. Mantoura
Keyword(s):  
Medical School ◽  
Food Supply ◽  
University Of California ◽  
Hospital Medical School ◽  
Master's Degrees ◽  
King's College ◽  
Research Organisation ◽  
The World ◽  
Oceanographic Research ◽  
The University

Australian scientist Shirley Jeffrey was a pioneer in oceanographic research, identifying the thentheoretical chlorophyll c, and was a worldwide leader in the application of pigment methods in quantifying phytoplankton as the foundation of the oceanic food supply. Her research paved the way for the successful application of microalgae in aquaculture around the world. Jeffrey earned bachelor's and master's degrees at University of Sydney, majoring in microbiology and biochemistry, followed by a PhD from the King's College London Hospital Medical School. Returning to Sydney, she was hired by the Commonwealth Scientific and Industrial Research Organisation (CSIRO) to research chlorophyll c. Following this successful effort, she became a research fellow at the University of California, Berkeley from 1962 to 1964. She then became affiliated with the Scientific Committee on Oceanic Research. After a 1973 sabbatical at the Scripps Institution of Oceanography in San Diego, she returned to CSIRO, where she spent the rest of her career.

scholarly journals Archibald Byron Macallum, 1858 - 1934

1934 ◽  
Vol 1 (3) ◽  
pp. 287-291 ◽  
Keyword(s):  
Medical School ◽  
American Continent ◽  
Medical Practitioners ◽  
The World ◽  
Private Venture ◽  
The University ◽  
At Home

Macallum’s monument is the Medical School of Toronto. Fifty years ago, when he joined the staff of the University as lecturer in biology, the medical school was in much the same condition as English provincial schools a generation earlier, little more than a private venture of medical practitioners laudably endeavouring to hand on to others what they happened to know. Thirty years later it ranked among the first two or three on the American continent and could teach the world. He was born on a farm in Western Ontario. In his childhood at home he spoke and heard only Gaelic; English he learnt at school. His father had come out from the highlands of Scotland to Canada in 1830, where he brought up a family of twelve children, three of his six sons becoming doctors of medicine.

Using Stanislavsky's Toolkit for Shakespeare's Richard III, Part II: Research on the Self in the Play

2013 ◽  
Vol 29 (2) ◽  
pp. 159-169
Author(s):  
Bella Merlin
Keyword(s):  
The Self ◽  
University Of California ◽  
Female Characters ◽  
Richard Iii ◽  
Professional Career ◽  
National Theatre ◽  
The World ◽  
The University ◽  
Shakespeare And Company ◽  
Consequences Of Violence

An actor's training continues throughout his/her professional career, yet they rarely have the time or inclination to write in detail about their processes, when building a character, to provide documents for inquisitive peers. In this two-part article, Bella Merlin articulates the discoveries made playing Margaret in Richard III at the Colorado Shakespeare Festival in Summer 2012, directed by internationally acclaimed actor-director Tina Packer (co-founder of Shakespeare and Company with Kristin Linklater in 1978). Merlin highlights how the shift from teacher to actor reactivates the ‘willing vulnerability’ that she demands of her own students. She focuses on Stanislavsky's three avenues of research: on the playtext; on the world of the play and playwright; and on the self. There can be resistance by some theatre practitioners to the application of Stanislavsky's tools to Shakespeare's texts, often due to a perceived over-psychologizing. In these articles Merlin challenges some of these resistances. She demonstrates that Packer's insistence on connecting voice with thought to release the imagination implicitly harnesses Shakespeare's structure with Stanislavsky's underpinnings. Packer also lays emphasis on contemporary resonance, freeing the natural voice, and the significance of Shakespeare's female characters in Richard III for awakening an audience to the consequences of violence. The journey is unsettlingly personal and startlingly global. In Part I, in NTQ 113, Merlin addressed research on the text and research on the play, drawing upon history, biography, accounts of grief, and chilling footage of the Rwandan genocide. In Part II, which follows, she uses the immediacy of a rehearsal journal to address research on the self. Bella Merlin is an actor, writer, and actor-trainer. Acting includes seasons at the National Theatre with Max Stafford-Clark's Out of Joint Company. Publications include The Complete Stanislavsky Toolkit (2007) and Acting: the Basics (2010). She is currently Professor of Acting at the University of California, Davis.

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