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Ghosts of Ned Kelly: Peter Carey’S True History and the Myths That Haunt Us
Ghosts of Ned Kelly: Peter Carey’s True History and the myths that haunt us Marija Pericic Master of Arts School of Communication and Cultural Studies Faculty of Arts The University of Melbourne November 2011 Submitted in total fulfillment of the requirements of the degree of Master of Arts (by Thesis Only). Abstract Ned Kelly has been an emblem of Australian national identity for over 130 years. This thesis examines Peter Carey’s reimagination of the Kelly myth in True History of the Kelly Gang (2000). It considers our continued investment in Ned Kelly and what our interpretations of him reveal about Australian identity. The paper explores how Carey’s departure from the traditional Kelly reveals the underlying anxieties about Australianness and masculinity that existed at the time of the novel’s publication, a time during which Australia was reassessing its colonial history. The first chapter of the paper examines True History’s complication of cultural memory. It argues that by problematising Kelly’s Irish cultural memory, our own cultural memory of Kelly is similarly challenged. The second chapter examines Carey’s construction of Kelly’s Irishness more deeply. It argues that Carey’s Kelly is not the emblem of politicised Irishness based on resistance to imperial Britain common to Kelly narratives. Instead, he is less politically aware and also claims a transnational identity. The third chapter explores how Carey’s Kelly diverges from key aspects of the Australian heroic ideal he is used to represent: hetero-masculinity, mateship and heroic failure. Carey’s most striking divergence comes from his unsettling of gender and sexual codes. -
Stgd/Ned Kelly A4 . March
NED KELLY Study Guide by Robert Lewis and Geraldine Carrodus ED KELLY IS A RE-TELLING OF THE WELL-KNOWN STORY OF THE LAST AUSTRALIAN OUTLAW. BASED ON THE NOVEL OUR SUNSHINE BY ROBERT DREWE, THE FILM REPRESENTS ANOTHER CHAPTER IN NAUSTRALIA’S CONTINUING FASCINATION WITH THE ‘HERO’ OF GLENROWAN. The fi lm explores a range of themes The criminals are at large and are armed including justice, oppression, relation- and dangerous. People are encouraged ships, trust and betrayal, family loyalty, not to resist the criminals if they see the meaning of heroism and the nature them, but to report their whereabouts of guilt and innocence. It also offers an immediately to the nearest police sta- interesting perspective on the social tion. structure of rural Victoria in the nine- teenth century, and the ways in which • What are your reactions to this traditional Irish/English tensions and four police was searching for the known story? hatreds were played out in the Austral- criminals. The police were ambushed by • Who has your sympathy? ian colonies. the criminals and shot down when they • Why do you react in this way? tried to resist. Ned Kelly has the potential to be a very This ‘news flash’ is based on a real valuable resource for students of History, The three murdered police have all left event—the ambush of a party of four English, Australian Studies, Media and wives and children behind. policemen by the Kelly gang in 1878, at Film Studies, and Religious Education. Stringybark Creek. Ned Kelly killed three The gang was wanted for a previous of the police, while a fourth escaped. -
Schools Reconciliation Challenge E
Introduction 2 How to Enter 2 About the NSW Reconciliation Council 3 Schools Reconciliation Challenge 4 Why Reconciliation? 5 Why Art? 5 2011 Artwork Gallery 6 Exploring the theme: Our Place 7 Sample Art Lessons 8 Culturally Appropriate Teaching 12 Strategies for teaching Aboriginal Students 13 Terminology 13 Lift Out Reconciliation Timeline 16 Fact Sheets 14 Reconciliation 14 Aboriginal NSW 21 Australian Aboriginal and Torres Strait Islander Peoples 25 2011 Schools Reconciliation Honour Roll 29 Entry Form 31 Terms and Conditions 32 "#$%&'&()*'+)&, The Schools Reconciliation Challenge is an art competition for young This kit has been people in NSW aged 10–16. This resource is a teaching kit which endorsed and is builds upon the objectives outlined in the NSW Creative Arts Syllabus supported by the K-6 and NSW Visual Arts Syllabus 7–10. Aboriginal Education Activities contained within help students to explore the relationship Consultative Group NSW between artist, artworks, the audience and the world, whilst developing (AECG NSW) their own artmaking practice by creating work to submit in the competition. Aboriginal and Torres Strait Islander readers are warned that this publication may contain references to deceased persons. Effort has been undertaken to ensure that the information contained in this book is correct, and the NSW Reconciliation Council regrets any offence that errors or omissions may cause. ! .(/'01($$2*'3/1$41)2)5&)$4'6(522/47/'8 ./9:'!;'-<!- .(/'59&'$='9/1$41)2)5&)$4'>'&(9$%7('&(/'/?/*'$='?$%47'@/$@2/ The Schools Reconciliation Challenge is an annual art competition for young people aged 10–16, running for the duration of Term 1 (closing on April 5 2012). -
PROGRAM 7Th - 9Th June 2019 7Th - June Weekend Long
SPECIAL EVENTS Friday 7 June BELLO POETRY SLAM 7:30-11:30pm Sponsored by Officeworks Saturday 8 June CRIME & MYSTERY WRITING 2:30-3:30pm & ‘Whodunnit? Who Wrote It?’ Six of Australia’s best crime/mystery authors Sunday 9 June explore this popular specialist genre in two 9:30-10:30pm featured panels Sunday 9 June IN CONVERSATION: KERRY O’BRIEN 6:30-8:00pm ‘A Life In Journalism’ Schools Program In the days leading up to the Festival weekend, the Schools Program will be placing a number of experienced authors into both primary and secondary schools in the Bellingen and Coffs Harbour regions. They will be presenting exciting interactive workshops that offer students a chance to explore new ways of writing and storytelling. This program is generously supported by Officeworks Ticket information Weekend Pass** $160 (Saturday Saturday Pass** $90 and Sunday) Sunday Pass** $90 (Please Note: Weekend Pass does NOT Single Event Pass $25 include Friday night Poetry Slam) Poetry Slam (Friday) $15 Morris Gleitzman - Special Kids & Parents session (Sunday, 9:30am) - Bellingen Readers & Writers Festival Adult $20 / Child* $5 (15 years and under) Gratefully acknowledges the support of ~ * Children under age 10 must be accompanied by an adult ** Concessions available for: Pensioner, Healthcare and Disability card holders, and Students – Available only for tickets purchased at the Waterfall PROGRAM Way Information Centre, Bellingen (evidence of status must be sighted) Weekend Pass concession $140 art+design: Walsh Pingala Saturday Pass & Sunday Pass concession each $80 All tickets available online at - • Trybooking - www.trybooking.com/458274 June Long Weekend Or in person from - • Waterfall Way Information Centre, Bellingen 7th - 9th June 2019 www.bellingenwritersfestival.com.au © 2019 www.bellingenwritersfestival.com.au Full festival program overleaf . -
Artist Résumé| Pippin Drysdale
Artist Résumé| Pippin Drysdale www.pippindrysdale.com Education 1985 Bachelor of Art (Fine Art), Curtin University of Technology, Perth, WA 1982 Study and work tour: Perugia, Italy; Anderson Ranch, Colorado, USA; San Diego, USA 1982 Diploma in Advanced Ceramics, Western Australian School of Art and Design Grants 2007 The Australia Council for the Arts (VACB), Major Fellowship 2006 Arts WA Project Grant, John Curtin Gallery Survey/Installation, WA 2005 Arts WA Freight & Travel, Carlin Gallery, Paris 2003 Arts WA Freight and Travel, V & A London “COL LECT” 2002 ArtsWA Catalogue, Freight & Travel, Germany 2001 The Australia Council for the Arts (VACF), Germany tour 1998 ArtsWA Creative Development Fellowship 1997/8 The Australia Council Visual Art and Crafts Fund, Project Grant 1997 ArtsWA Travel Grant 1994 The Australia Council Visual Art and Crafts Board, Creative Development 1992 ArtsWA Travel Grant 1991 ArtsWA Travel Grant 1990 The Australia Council Visual Art and Crafts Board, Creative Development 1987 The Australia Council Visual Art and Crafts Board, Special Development Awards 2020 Curtin University – Honorary Award - Honorary Doctor of Arts 2015 Living Treasure Award, Western Australian Government 2011 Artsource Lifetime Achievement Award, Art Gallery of Western Australia, Perth, Australia 2007 Master of Australian Craft, Craft Australia, NSW 2003 Gold Coast International Award, Queensland, Australia 1995 City of Perth Craft Award; Newcastle Ceramic Purchase Award, Newcastle Regional Art Gallery, NSW; Docks Art Award, Fremantle, -
Paintings from Warmun ST PAUL St Gallery One 25 September – 23 October 2015
Paintings from Warmun ST PAUL St Gallery One 25 September – 23 October 2015 These paintings all come from artists working in Warmun, a community of about 400 people located 200 kilometres south of Kununurra in the Kimberley region of far north Western Australia. The Warmun Art Centre there was founded by Queenie McKenzie, Madigan Thomas, Hector Jandany, Lena Nyadbi, Betty Carrington and Patrick Mung Mung, members of the contemporary painting movement that began in the mid-1970s. Warmun Art Centre is owned and governed by the Gija people, its income returned to the community. Today some 50 emerging and established Gija artists work there. The works are by Warmun artists Mabel Juli, David Cox, Lena Nyadbi, Churchill Cann, Gordon Barney, Phyllis Thomas and Shirley Purdie. In these paintings the material is the work; they are earth and mineral as well as images. While they are stylistically very different in approach, all share the ochre, charcoal and natural earth pigments that typify contemporary Aboriginal painting in the Kimberley region. Coloured by iron oxide, ochre ranges from subtle yellow to deep red-brown. Mawandu or white ochre (extensively used in Mabel Juli’s work, alongside black ochre) is distinctive to the Kimberley area. This is a naturally occurring white clay that forms deep in the ground along certain riverbeds. Mixing natural pigments with mawandu provides range of colours including lime greens, greys, and a rare pink, all of which are produced at Warmun and traded with art centres across the region. ‘I don’t paint another country, I paint my own’, says Mabel Juli. -
Artist Résumé Pippin Drysdale
Artist Résumé Pippin Drysdale www.pippindrysdale.com Education 1985 Bachelor of Art (Fine Art), Western Australian Institute of Technology (WAIT), now Curtin University, Perth, Western Australia 1982 Study and work tour: Perugia, Italy; Anderson Ranch, Colorado, USA; San Diego, USA 1982 Diploma in Advanced Ceramics, Western Australian School of Art and Design Grants 2007 Australia Council for the Arts, Visual Arts and Craft Board, Major Fellowship 2006 ArtsWA Project Grant, John Curtin Gallery, Curtin University, Survey/Installation Western Australia 2005 ArtsWA Freight & Travel, Carlin Gallery, Paris 2003 ArtsWA Freight and Travel, Victoria and Albert Museum, London COLLECT 2002 ArtsWA Catalogue, Freight & Travel, Germany 2001 Australia Council for the Arts Visual Arts and Craft Fund, Germany tour 1998 ArtsWA Creative Development Fellowship 1997/8 Australia Council for the Arts Visual Arts and Craft Fund, Project Grant 1997 ArtsWA Travel Grant 1994 Australia Council for the Arts Visual Arts and Craft Board, Creative Development 1992 ArtsWA Travel Grant 1991 ArtsWA Travel Grant 1990 Australia Council for the Arts Visual Art and Craft Board, Creative Development 1987 Australia Council for the Arts Visual Art and Craft Board, Special Development 1 Awards 2020 Honorary Doctorate of the Arts, Curtin University, Perth, Western Australia 2015 WA State Living Treasure Award, Western Australian Government 2011 Artsource Lifetime Achievement Award, Perth, Western Australia 2007 Master of Australian Craft, Craft Australia, New South Wales, Australia -
Children Fall Catalogue 2020
CHILDREN’S PICTURE CHILDREN’S PICTURE BOOKS For rights enquiries and further information please contact Natasha Solomun, Director, The Rights Hive at [email protected] Publisher: Serenity Press Budgie Rescue Format: Paperback Books Page extent: 32pp Sarah, Duchess of York Publication date: November 2020 Rights held: World Join Budgie the Little Helicopter as he flies around and helps to rescue animals from all over. From Kubby the Koala to Turtle, there’s endless adventures to be had! AUTHOR Sarah Ferguson, The Duchess of York, is the author of several children’s books, including Ballerina Rosie; Tea for Ruby, illustrated by Robin Preiss Glasser; and the Little Red series as well as a memoir, Finding Sarah. The Duchess is a devoted spokesperson for many charitable organizations, including Changes for Children. She has two daughters, Princess Beatrice and Princess Eugenie. For rights enquiries and further information please contact Natasha Solomun, Director, The Rights Hive at [email protected] The Duchess Serenity Collection Sarah, Duchess of York Publisher: Serenity Press Format: Picture book, Junior fiction Page extent: various Publication date: April 2020 Rights held: World The Enchanted Oak Tree –Open the antique gate and enter a secret garden where a world of enchantment and wonder awaits… Children will delight in this charming tale about an old oak tree that is not what it seems, for frolicking fairies make their home among its sheltering branches. Genie Gems – Mission to Devon - 8 - 10 year old chapter book. A schoolgirl on a planet saver quest… An evil lord who wants to harm the environment and bring misery to all who live on the planet… Join Genie Gems on a rescue mission that will demand all her courage, the support of a loyal band of friends plus a touch of magic if she is to succeed in defeating Lord Darkly. -
Framing the Crimes of Colonialism Critical Images of Aboriginal Art and Law
Chapter 8 Framing the crimes of colonialism Critical images of aboriginal art and law Chris Cunneen ‘Painting is our foundation. White man calls it art’ Galarrwuy Yunupingu (quoted in Isaacs, 1999: xi). Introduction This chapter considers images of crime and law, and what we, through the lens of cultural criminology, might learn of the nature and experiences of crime represented through the image. Cultural criminology opens a new space for understanding crime, especially where the image is produced by those who are victims of crime and simultaneously without access to other channels of communication within mainstream social and political institutions. The images considered in this chapter are particular: Australian Aboriginal art. These art- works function on two levels, as an expression of Aboriginal law and, more extensively, as a critique of the imposed colonial law. Both in traditional and contemporary society, Aboriginal art is a powerful medium for expressing Aboriginal law and culture. Aboriginal art plays a special role in understanding law in a society that did not rely on the written text. In this context, the image has sacred standing quite distinct from the commodity status of art in contemporary capitalist societies. Art also provides an important material expression and critique of the colonizing process, both as an historical record of events such as massacres, segregation and the denial of civil and political rights, and as an ongoing contemporary postcolo- nial critique of the outcomes of colonization, dispossession and racial discrimina- tion. Aboriginal artists are constantly engaging colonialism, law and the criminal justice system as subject matter for their art. -
Adobe PDF, Job 2
DEPARTMENT OF CULTURE AND THE ARTS 2003-2004 ANNUAL REPORT CONTENTS DIRECTOR GENERAL’S FOREWORD......................................................................................4 LETTER OF TRANSMITTAL ......................................................................................................7 CORPORATE IDENTITY.............................................................................................................8 MISSION ..............................................................................................................................8 VISION.................................................................................................................................8 OUTCOME.........................................................................................................................10 OUTPUTS...........................................................................................................................10 THE FUNCTIONS OF THE DEPARTMENT OF CULTURE AND THE ARTS............10 STRUCTURE OF THE CULTURE AND ARTS PORTFOLIO .......................................12 STRUCTURE OF THE DEPARTMENT OF CULTURE AND THE ARTS....................13 PROFILES OF UNITS .................................................................................................................13 AGENCIES.........................................................................................................................13 PORTFOLIO MANAGEMENT UNITS ............................................................................14 -
Neelima Kanwar* 70
47 Area Studies : A Journal of International Studies & Analyses Prejudice and Acceptance (?): Issues of Integration in Australia 69. The Deccan Chronicle, October 10, 2011. NEELIMA KANWAR* 70. The New Indian Express, July 13, 2011 71. Strategic Digest, May 2011, p. 399. Look here You have never seen this country, It's not the way you thought it was, Look again. (Al Purdy) Contemporary Australia is a land of varied cultures inhabited by the Aboriginals, the Whites and non-White immigrants. The Indigenous people of Australia have been dominated by the Whites since the very arrival of the Whites. They have not only been colonized but have been permanently rendered as a marginalized minority group. Even in the present times; their predicament has not changed much. They are still under the control of the Whites while limiting the Aboriginal people to the periphery of the continent have occupied the central position. Since the early 1970s, Australia has experienced multiple waves of immigration from Southeast Asia which have transformed the character of Australian society more radically than the earlier post-war immigration from Southern Europe. These non- white/coloured immigrants have remained sympathetic towards the original inhabitants in their new found home. However, the social positioning of these coloured people has somehow followed the same pattern as of the Aboriginals. They * Dr. Neelima Kanwar, Associate Professor, Department of English, International Centre for Distance Education and Open Learning (ICDEOL), Himachal Pradesh University, Shimla. 49 Area Studies : A Journal of International Studies & Analyses Prejudice and Acceptance (?): Issues of Integration in Australia 50 too have been pressurized to abandon and forget their own “ …this country shall remain forever the home of the native culture in an alien land which they have sought to make descendants of those people who came here in peace in order to their second home. -
Latest Pip Drysdale CV 2021
Curriculum Vitae Pippin Drysdale BIOGRAPHY 1943 Born in Victoria to Patti and John Carew-Reid. 1946 Arrived in Western Australia. 1948-60 Educated at St Hilda’s School and Methodist Ladies College. Private art classes with Rhoda and Wim Boissevain. 1981 Perth Technical College – Diploma in Advanced Ceramics course. 1982 Study and work tour – Perugia, Italy; Anderson Ranch, Colorado, USA; San Diego, USA. Study with influential artist potters in the USA – Daniel Rhodes and Toshiko Takaesu. 1983-1985 Enrolled at WAIT (now Curtin University) in Bachelor of Arts in Ceramics. 1986-date Working in own studio producing ceramics towards exhibitions. 1987 Received an Australia Council for the Arts Visual Art and Craft Board, Special Development Grant. 1988 Guest lecturer, School of Art, University of Tasmania, Hobart. 1990 Received an Australia Council for the Arts Visual Art and Craft Board, Creative Development Grant. 1991 Received an ArtsWA Travel Grant for activities listed below. Artist-in-Residence, Swansea Art College, Swansea, Wales, UK. Artist-in-Residence, Deruta Grazia Maioliche (Pottery), Perugia, Italy. Cultural Exchange, Artists' Union of Russia, Tomsk University, Siberia, Russia. Guest Lecturer, Princeton University, Skidmore College, Boise State University and Washington State University, USA. 1992 Received an ArtsWA Travel Grant to travel to Central Australia. 1993 Artist-in-Residence and Visiting Lecturer, Canberra School of Art, Canberra ACT, Australia. 1994 Received an Australia Council for the Arts Visual Arts and Craft Board, Creative Development Grant. Artist-in-Residence, Banff Centre for the Arts, Calgary, Canada. Guest Lecturer, Washington State University, Seattle, USA. Awarded Fellow of FORM (formerly CRAFTWEST), Perth, Western Australia.