Australian Working Songs and Poems - a Rebel Heritage
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Riverina Murray Destination Management Plan 2018
Riverina Murray Destination Management Plan 2018 Goobarragandra River, Tumut Credit: Destination NSW Destination Riverina Murray Destination Riverina Murray Board Contact Destination Riverina Murray is one of six Destination Genevieve Fleming | Chairperson For more information about the Riverina Murray Networks established by the NSW Government. The Judith Charlton | Director Destination Management Plan please contact: Networks are responsible for driving the growth of Neil Druce | Director the visitor economy in each respective region to help Belinda King | Director [email protected] achieve the NSW Government’s overnight visitor Alex Smit | Director expenditure goal for 2020. Naomi Stuart | Director Urban Enterprise The Destination Networks facilitate growth in the Mission Statement This Destination Management Plan (DMP) was prepared visitor economy at a local level by representing and by tourism, economics and urban planning consultancy coordinating the region’s tourism industry. Destination Riverina Murray’s mission is to strengthen firm Urban Enterprise in collaboration with Destination the region’s visitor economy by developing strong Riverina Murray (DRM). Urban Enterprise authors The operations of Destination Riverina Murray are partnerships with industry, local government and include: funded by Destination NSW, the lead government tourism organisations to collectively contribute agency for the New South Wales tourism and major towards increasing visitation, expenditure and dispersal Mike Ruzzene events sector. within the Riverina Murray region. Chris Funtera Danielle Cousens Thank You www.urbanenterprise.com.au Destination Riverina Murray would like to thank the people and organisations who have contributed to Version the development of the Destination Management Plan, including Local Governments, the local tourism Version 1.1 industry, Destination NSW, Murray Regional Tourism, April 2018 Thrive Riverina, National Parks and Wildlife Service and many more important contributors. -
Notable Australians Historical Figures Portrayed on Australian Banknotes
NOTABLE AUSTRALIANS HISTORICAL FIGURES PORTRAYED ON AUSTRALIAN BANKNOTES X X I NOTABLE AUSTRALIANS HISTORICAL FIGURES PORTRAYED ON AUSTRALIAN BANKNOTES Aboriginal and Torres Strait Islander readers are respectfully advised that this book includes the names and images of people who are now deceased. Cover: Detail from Caroline Chisholm's portrait by Angelo Collen Hayter, oil on canvas, 1852, Dixson Galleries, State Library of NSW (DG 459). Notable Australians Historical Figures Portrayed on Australian Banknotes © Reserve Bank of Australia 2016 E-book ISBN 978-0-6480470-0-1 Compiled by: John Murphy Designed by: Rachel Williams Edited by: Russell Thomson and Katherine Fitzpatrick For enquiries, contact the Reserve Bank of Australia Museum, 65 Martin Place, Sydney NSW 2000 <museum.rba.gov.au> CONTENTS Introduction VI Portraits from the present series Portraits from pre-decimal of banknotes banknotes Banjo Paterson (1993: $10) 1 Matthew Flinders (1954: 10 shillings) 45 Dame Mary Gilmore (1993: $10) 3 Charles Sturt (1953: £1) 47 Mary Reibey (1994: $20) 5 Hamilton Hume (1953: £1) 49 The Reverend John Flynn (1994: $20) 7 Sir John Franklin (1954: £5) 51 David Unaipon (1995: $50) 9 Arthur Phillip (1954: £10) 53 Edith Cowan (1995: $50) 11 James Cook (1923: £1) 55 Dame Nellie Melba (1996: $100) 13 Sir John Monash (1996: $100) 15 Portraits of monarchs on Australian banknotes Portraits from the centenary Queen Elizabeth II of Federation banknote (2016: $5; 1992: $5; 1966: $1; 1953: £1) 57 Sir Henry Parkes (2001: $5) 17 King George VI Catherine Helen -
William Buelow Gould--Convict Artist in Van Diemen's Land
PAP~:<:Rs AND PRoCE::8DJNGS OF THE ROYAL Sf.tf"IETY oF TASMANIA, VoLUME 9:3 WILLIAM BUELOW GOULD--CONVICT ARTIST IN VAN DIEMEN'S LAND By !SABELLA MEAD* (With 1 Plate) When I came first to the Launceston Museum I brought William Buelow Gould to Van Diemen's found very many paintings by a convict named Land. He writes of him:- Gould. Very soon visitors were asking me questions about him and I proceeded to read what had been " This poor wretch is another example of the written. It seemed very little. In fact, it amounted baneful effects produced by gambling. He to the notes that had been put together by Mr. has been a pupil of Mulreadys-his true name Henry Allport for an exhibition of Tasmanian art is Holland-his friends residing in Stafford are held in Hobart in 1931. These notes were published chinaware manufacturers. in the " Mercury " newspaper and then put together He got into a gambling set in Liverpool, lost in pamphlet form. Every subsequent writer on his money and to redeem it and being fond Gould has used them. of play he got initiated and became a regular When people said, however," vVhen was he born? member of the set of sharpers. When did he die? Was he marri.ed? Did he leave In the course of his practices he came to any family? Did he paint only in oil?", I had to London and was at one time intimate with reply, "I do not know." I am still not certain when the notorious Thurthill, the murderer, and he was born, but I know when he died. -
L9oict 06 Lht Mounlains JOURNAL of the MOUNTAIN CATILEMEN's ASSOCIATION of VICTORIA INC
l9oict 06 lht mounlains JOURNAL OF THE MOUNTAIN CATILEMEN'S ASSOCIATION OF VICTORIA INC. 19oice 06 the mountains Journal of the Mountain Cattlemen's Association of Victoria Inc. No. 20 (1997) ISSN 0816-9764 Editorial Committee: Linda Barraclough, Debra Squires and Sue Silvers CONTENTS President's Message ......................................................................................... 3 Havens of the High Country: An Exhibition and Book by David Oldfield .......................................... 4 Snake Island and the Cattlemen of the Sea Cheryl Glowrey ............................... 7 With Cattlemen and Packhorses: Photographs by Harry Struss .................................................................. 11 Sounds of Wonnangatta John Andrews ............................................................................... 15 Life Membership of the MCAV presented to Jack Lovick ............................. 17 ' Our Cattle Liked the Scenery, the Higher They Got the Better They Liked It' Klaus Hueneke ................. 18 For my friend, Stuart Hair Jan Hobbs ................................................................ 22 Obituaries: Stuart McMillan Hair .............................................................................. 23 Frank C. Johnson ................................................................................... 24 Drovers of the High Plains Johnny Faithfull .................... ................................................ 25 Don Kneebone Mountain Heritage Award ..................................................... -
The Eureka Flag
EUREKA EDUCATION — THE EUREKA FLAG 29 THE EUREKA FLAG image, right & p. 29 unknown artist The flag of the Southern Cross (Eureka Flag) 1854 wool, cotton Actual size: 260.0 x 324.0cm (irreg.) Original size: 260.0 x 370.5 cm Gift of the King family, 2001 Collection of the Art Gallery of Ballarat The original Flag of the Southern Cross (The Eureka Flag) can be viewed at the Eureka Centre, on loan from the Art Gallery of Ballarat. It was made in 1854. ORIGINS OF THE FLAG It is not known who designed or made the flag. It is widely believed that it was designed by a Canadian miner, Henry Charles Ross (see Key figures) There are traditional stories which suggest that it may have been sewn by three women – Anne Withers, Anne Duke and Anastasia Hayes (see Women on the goldfields) but there are alternative claims that the claim was made by local tentmakers Edwards and Davis. Neither of these stories have been proven. The flag was first raised at a Ballarat Reform League meeting at Bakery Hill on 29 November 1854. It was then moved to the Eureka Stockade where it was flown until torn down after the battle on 3 December, only five days later. FLAG DESCRIPTION The flag is 2.6 metres high and 4metres wide – more than double the size of a standard flag. The blue fabric is mostly cotton, while wool has been used for the white cross and the stars. The flag is made up of multiple panels of fabric that have been ART stitched together. -
Hail and Farewell! an Evocation of Gippsland He Has Brought to Life Gippsland and Its People
CHESTER EAGLE HAIL and Hail and Farewell FAREWELL! Gippsland is an area unique in Australia; backed by mountains, bounded by the sea, cut off from the main Sydney-Melbourne axis An Evocation of Gippsland of Australian history, it lacks those starker elements of the Australian mainland which have captivated our artists and the eyes of visitors. Yet, in many ways, Gippsland still embodies the nineteenth-century Chester Eagle Australia celebrated by those who search our past and present for a national ethos. It seems to have a rare capacity to absorb change without altering its basic nature. AND FAREWELL HAIL In 1956, Chester Eagle was sent to Gippsland, to Bairnsdale—a town the existence of which he was only dimly aware—as a Victorian Education Department appointee to the local technical school. On arrival, following initial dislike, he felt challenged, stayed twelve years, and 'fell in love' with the place'. In Hail and Farewell! An Evocation of Gippsland he has brought to life Gippsland and its people. History, main-street gossip, bar talk and daily incident are combined with affectionate portrayals of local identities and reverential descriptions of the divine landscape. The place and its people live and breathe in its pages—the lean-to scoreboards, stump carvings, salmon trawlers and towering trees; the post-pioneering villages and their inhabitants—earthy, insular, and all acutely aware of each other. All are set down by an author who is deeply committed to his subject, yet has the necessary detachment to see it clearly and portray it with a sympathetic but wholly objective eye. -
Scanned Using Book Scancenter 5033
Proc. XVII International Congress of Vexillology 149 Copyright ©1999, Southern African Vexillological Assn. Australia’s new flag Peter Martinez (ed.) nullius - land belonging to none - is now discredited.^ Australia’s present makes sense only from its past. The seeds of its future and,its future flag are already there. Integration of symbols requires the integrity of candour. The elemental idea of this paper is that integration of peoples and syrnbols comes from integrity of mind. Integrity will not ignore atrocities. Nor Australia’s new flag - will it cultivate political correctness of one kind or another. Civic harmony grows from mutual respect for different traditions and from shared experience. a pageant of colours and What many in Australia still recognise as mateship. The second point of reference in this paper is the symbolic power of colour. integrated symbols Colour crosses many margins and several meanings. Applied to people who stand behind flags and symbols, colour is an atavistic and sensitive issue in any couptry. Colour, and the differences of which the rainbow is an ancient symbol,^ A.C. Burton is a subtle issue for Australia, which seeks a harmony of cultures. Despite the goodwill and the good works of the last 200 years that out- measure mcdice, Australia is still a whole continent where a nation-state - but ABSTRACT: The history and significance of colour themes in Aus not quite a state of nation - has been built upon the dispossession of peo tralian vexillography are explored to provide a reference pdint for ples. Sovereign in custom, language, ritual, religion, in seals and symbols, and evolving and depicting old symbols in a new way, to weave from an above all in deep relationship to the land, Australia’s Aboriginal people are still ancient Dreaming new myths for a nation’s healing. -
Unit 2 Marcus Clarke : the Seizure of the Cyprus
UNIT 2 MARCUS CLARKE : THE SEIZURE OF THE CYPRUS Structure Objectives Introduction Marcus Clarke 2.2.1 From Foreign OfZce to Foreign Shore 2.2.2 Man of Many Talents His Natural Life Themes in Clarke " 2.4.1 Marcus Clarke in the 20&Century The Szimre of the Cyprus- Text 2.5.1 Analysing The Seizure of the Cyprus 2.5.2 Action in The Seizure of the Cyprus 2.5.3 Characterisation 2.5.4 Narrative Technique 2.5.5 Contextualising The Seizure of the Cyprus 2.5.6 Highlights Let us Sum up Questions Suggested Reading 2.0 OBJECTIVES The primary motive behind this unit is to provide you with some of the critical information surrounding the life and works of a great writer like Marcus Clarke. We shall, look into his biographical details, the circumstances related to the birth of his creativity, his position amongst the other short fiction writers of the age, and hs contribution to the development of Australian short fiction. 2.1 INTRODUCTION It is generally believed that the short story in Australia began with the writings of Henry Lawson. For most literary critics writing (of the short story 1 short fiction) before Lawson was not worth much critical attention. H M Green states in his introduction to the short story between 1850 to 1890 that, "the short stories of the period were many in number but poor in quality." He regards most of the short fiction before Lawson as mere 'sketches' in comparison with Lawson's stories. The short story as a genrc gained popularity chiefly on account of it being published regularly in the Sydney Bulletin of the 1890s. -
John Forbes's Poetry of Metaphysical Etiquette
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals online Instruction for an Ideal Australian: John Forbes’s Poetry of Metaphysical Etiquette DUNCAN HOSE University of Melbourne I want to approach the work of John Forbes as being exemplary of a process which combines mythography and mythopoesis, or the constant re-reading and re-writing of the myths one lives by. The articles of concern here are both the personal mythemes that are aggregated by the individual subject in the business of identity construction, and the mass of national mythic capital that continually circulates, wanting to displace difference and coax the subject into a kind of sentimental symbolic citizenship. Forbes took very seriously the poststructuralist revolutions in epistemology and ontology, and his poetry is characterized by an intense scepticism about the capacity of language to represent the world properly, and an allied cynicism toward the products of self- mythologising, preferring the hedonism, and in a strange way the anxiety, of the de- centred subject licensed by postmodernism. I want to read here a few of Forbes’s poems as a possible charter for a new metaphysics, and perhaps a new kind of old-fashioned etiquette. As the title of this paper suggests, there is often some haranguing quality in this poet’s work: one is always being upbraided, or at least addressed; it is immediately a social poetry that does not function as a model of Romantic self-calibration, or subscribe to the self as an economic or philosophical unit, except sarcastically. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Sound and Fury in Colonial Australia The Search for the Convict Voice, 1800-1840 ! Michael R. Wolter A Thesis for the degree of Doctor of Philosophy Department of History Faculty of Arts and Social Sciences University of Sydney March 2014 Abstract This thesis uses an aural analysis of penal-era Australia to enliven, and unsettle, discussion of convict subjectivity within penal-era historiography. The ‘search for the convict voice’, the quest to discover something of the inner-lives of figures that have transfixed Australians for generations, is expanded as well as complicated by an analysis of the sounds of penal life. -
SIR SAUL SAMUEL Papers, 1837-1900 Reel M875
AUSTRALIAN JOINT COPYING PROJECT SIR SAUL SAMUEL Papers, 1837-1900 Reel M875 Sir John Samuel, Bart. Birchwood Beech Close Cobham, Surrey National Library of Australia State Library of New South Wales Filmed: 1973 CONTENTS Page 3 Biographical note 4 Correspondence of Charles Cowper and Saul Samuel, 1865-70 4 Letters of Lord Belmore to Saul Samuel, 1868-85 4 General correspondence, 1837-73 5 General correspondence, 1873-1900 12 Letters of Sir Henry Parkes to Saul Samuel, 1872-90 12 Undated letters 13 Invitations 13 Samuel Family papers, 1889-98 2 BIOGRAPHICAL NOTE Sir Saul Samuel (1820-1900), 1st Baronet, was born in London. His father died before he was born and in 1832 he accompanied his mother to New South Wales, where his uncle and his brother were already living. He was educated at Sydney College and in 1837 he joined the Sydney counting-house of his uncles. With his brother Lewis, he later formed the Sydney mercantile company of L. & S. Samuel and in time became a director of several companies based in Bathurst. Samuel was the first Jewish parliamentarian and the first Jewish minister of the Crown in New South Wales. He represented the counties of Roxburgh and Wellington in the Legislative Council in 1854- 56. In the Legislative Assembly he represented Orange in 1859-60, Wellington in 1862-69 and Orange in 1869-72. He returned to the Legislative Council in 1872. In 1865-66 and 1868-70 Samuel was Colonial Treasurer in the ministries led by Charles Cowper and John Robertson. He was postmaster-general in the ministries led by Henry Parkes in 1872-75, 1877 and 1878-80. -
The Red Clydesiders - an Interview with Alistair Hulett
Illawarra Unity - Journal of the Illawarra Branch of the Australian Society for the Study of Labour History Volume 5 Illawarra Unity, Volume 5 No.1 Issue 1 Illawarra Unity Article 2 2005 The Red Clydesiders - an interview with Alistair Hulett Anthony Ashbolt University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/unity Recommended Citation Ashbolt, Anthony, The Red Clydesiders - an interview with Alistair Hulett, Illawarra Unity - Journal of the Illawarra Branch of the Australian Society for the Study of Labour History, 5(1), 2005, 17-29. Available at:https://ro.uow.edu.au/unity/vol5/iss1/2 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The Red Clydesiders - an interview with Alistair Hulett Abstract Alistair Hulett, a Glasgow native, is one of Scotland’s finest folk performers and a committed socialist. During the 70s, 80s and much of the 90s he was based in Australia where he made a name for himself as a solo performer and for a period as a member of the highly acclaimed punk folk band Roaring Jack. From punk he moved back to the spirit and style of the folk revival of the 1960s. He is now based in Glasgow, where he performs solo and with Dave Swarbick, his collaborator on the CD Red Clydeside. Keywords socialists, folk singer, Scotland This journal article is available in Illawarra Unity - Journal of the Illawarra Branch of the Australian Society for the Study of Labour History: https://ro.uow.edu.au/unity/vol5/iss1/2 Illawarra Unity The Red Clydesiders: An Interview with Alistair Hulett Interviewer: Anthony Ashbolt [Alistair Hulett, a Glasgow native, is one of Scotland’s finest folk performers and a committed socialist.