ORCID Profile
0000-0001-7694-5615
Current Organisations
Centre National de la Recherche Scientifique
,
University of Southern Queensland
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Publisher: Walter de Gruyter GmbH
Date: 21-04-2021
Abstract: Metasurfaces have recently gained extensive interest because of their extraordinary optical behavior as artificial material interfaces with ultrahigh compactness. In this framework, dielectric platforms have newly become very promising for nonlinear nanophotonics, providing opportunities, especially for ultrafast optical switching, and high harmonic generation, opening the research field of nonlinear metaoptics. Up to now, nonlinear metaoptics have been mostly explored using single metasurfaces. However, in a long-term vision, the stacking of optical metasurfaces, very challenging in terms of fabrication, is one key goal of this research field. Here, we demonstrate a three-layer metasurface in the AlGaAs-on-insulator platform, which improves the second harmonic generation efficiency by more than one order of magnitude with respect to its one-layer counterpart. Our achievement paves the way toward phase-shaping multilayer and multifunctional all-dielectric metasurfaces.
Publisher: Equinox Publishing
Date: 06-2015
DOI: 10.1017/QRE.2015.7
Abstract: Cultural narratives also function as lifelines in the work of another Queensland Indigenous woman writer, Vivienne Cleven. Cleven's novel, Bitin’ Back (2001), begins when Mavis Dooley's son, Nevil, announces that he is no longer Nevil, but the writer Jean Rhys. Although Nevil eventually reveals that he has simply been acting as a woman in order to understand the protagonist of the novel he is writing, his choice of Rhys in particular is significant. Nevil selected Jean Rhys as a signifier of his female role because, he explains: She's my favourite author she wrote Wide Sargasso Sea [1966]. She was ahead of her time she wrote about society's underdogs about rejection and the madness of isolation. I know it sounds all crazy to you, Ma, but this is about who I am . . . [A] lot of people would never understand me and they wouldn't want to. (2001: 184)
Publisher: Informa UK Limited
Date: 04-07-2022
Publisher: Informa UK Limited
Date: 22-06-2018
Publisher: The Optical Society
Date: 16-05-2019
Publisher: Elsevier BV
Date: 05-2022
Publisher: Equinox Publishing
Date: 12-2012
DOI: 10.1017/QRE.2012.23
Abstract: The cultural association of Queensland with a condition of imagination or unreality has a strong history. Queensland has always ‘retained much of its quality as an abstraction, an idea’, asserts Thea Astley in her famous essay on the state's identity (Astley 1976: 263). In one of the most quoted descriptions of Queensland's literary representation, Pat Buckridge draws attention to its ‘othering’, suggesting that Queensland possesses ‘a different sense of distance, different architecture, a different apprehension of time, a distinctive preoccupation with personal eccentricity, and . . . a strong sense of cultural antitheses’ (1976: 30). Rosie Scott comes closest to the concerns of this present article when she asserts that this so-called difference ‘is definitely partly to do with the landscape. In Brisbane, for instance, the rickety old wooden Queenslanders drenched in bougainvillea, the palms, the astounding number of birds even in Red Hill where I lived, the jacarandas, are all unique in Australia’ (quoted in Sheahan-Bright and Glover 2002: xv). For Vivienne Muller, Buckridge's ‘cultural antitheses’ are most clearly expressed in precisely this interpretation of Queensland as a place somewhere between imagined wilderness and paradise (2001: 72). Thus, as Gillian Whitlock suggests, such differences are primarily fictional constructs that feed ‘an image making process founded more on nationalist debates about city and bush, centre and periphery, the Southern states versus the Deep North than on any “real” sense of regionalism’ (quoted in Muller 2001: 80). Queensland, in this reading, is subject to the Orientalist discourse of an Australian national identity in which the so-called civilisation of the south-eastern urban capitals necessitates a dark ‘other’. I want to draw out this understanding of the landscape as it is imagined in Queensland women's writing. Gail Reekie (1994: 8) suggests that, ‘Women's sense of place, of region, is powerfully constructed by their marginality to History.’ These narratives do assert Queensland's ‘difference’, but as part of an articulation of psychological extremity experienced by those living on the edges of a simultaneously ideological and geographically limited space. The Queensland landscape, I argue, is thus used as both setting for and symbol of traumatic experience.
Publisher: Informa UK Limited
Date: 17-12-2018
Publisher: Oxford University Press (OUP)
Date: 2019
Publisher: Equinox Publishing
Date: 12-2019
DOI: 10.1017/QRE.2019.30
Abstract: Although she is often perceived as a writer of the local, the rural or the regional, Thea Astley herself notes writing by American modernists as her primary literary influence, and emphasises the ethical value of transnational reading and writing. Similarly, she draws parallels between writing of the American ‘Deep South’ and her own writing of the ‘Deep North’, with a particular focus on the struggles of the racial or cultural outsider. In this article, I pursue Astley’s peculiar blend of these literary genres — modernism, the Gothic and the transnational — as a means of understanding her conceptualisation of kindness and community. Although Astley rejects the necessity of literary community, her writing emphasises instead the value of interpersonal engagement and social responsibility. With a focus on her first novel, Girl with a Monkey (1958), this article considers Astley’s representation of the distinction between community and kindness, particularly for young Catholic women in Queensland in the early twentieth century. In its simultaneous critique of the expectations placed on women and its upholding of the values of kindness and charity, Astley considers our responsibilities in our relations with the Other and with community.
Publisher: Informa UK Limited
Date: 02-01-2022
Publisher: Palgrave Macmillan UK
Date: 2016
Publisher: Equinox Publishing
Date: 12-2016
DOI: 10.1017/QRE.2016.23
Abstract: To posit Queensland's modernism may seem like an oxymoron. Queensland is often the butt of the southern states’ jokes. North of its more cultured and intellectual sibling-states (or so popular perception would have it), Queensland is ‘backward’, naïve, behind the times, provincial. According to this mythology, Brisbane is a glorified country town, Queenslanders refuse daylight saving for the sake of their very sensitive cows and curtains, and there is very little ‘culture’ to mention.
Publisher: Routledge
Date: 20-07-2017
Location: No location found
No related grants have been discovered for Jessica Gildersleeve.