Mary Ann Bugg
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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 -
Heritage of the Birdsville and Strzelecki Tracks
Department for Environment and Heritage Heritage of the Birdsville and Strzelecki Tracks Part of the Far North & Far West Region (Region 13) Historical Research Pty Ltd Adelaide in association with Austral Archaeology Pty Ltd Lyn Leader-Elliott Iris Iwanicki December 2002 Frontispiece Woolshed, Cordillo Downs Station (SHP:009) The Birdsville & Strzelecki Tracks Heritage Survey was financed by the South Australian Government (through the State Heritage Fund) and the Commonwealth of Australia (through the Australian Heritage Commission). It was carried out by heritage consultants Historical Research Pty Ltd, in association with Austral Archaeology Pty Ltd, Lyn Leader-Elliott and Iris Iwanicki between April 2001 and December 2002. The views expressed in this publication are not necessarily those of the South Australian Government or the Commonwealth of Australia and they do not accept responsibility for any advice or information in relation to this material. All recommendations are the opinions of the heritage consultants Historical Research Pty Ltd (or their subconsultants) and may not necessarily be acted upon by the State Heritage Authority or the Australian Heritage Commission. Information presented in this document may be copied for non-commercial purposes including for personal or educational uses. Reproduction for purposes other than those given above requires written permission from the South Australian Government or the Commonwealth of Australia. Requests and enquiries should be addressed to either the Manager, Heritage Branch, Department for Environment and Heritage, GPO Box 1047, Adelaide, SA, 5001, or email [email protected], or the Manager, Copyright Services, Info Access, GPO Box 1920, Canberra, ACT, 2601, or email [email protected]. -
Ned Kelly and the Kelly Gang
Ned Kelly and the Kelly Gang Use the words below to fill in the missing information. Glenrowan Inn life armour Ellen Quinn banks legend bushranger bravery unprotected outlawed surviving letter friends hanged awarded Australia’s most famous is Ned Kelly. Edward ‘Ned’ Kelly was born in Beveridge, Victoria in 1855. Ned’s mother was and his father was John ‘Red’ Kelly, an ex-convict. He was their eldest son of eight children. As a child, Ned rescued another boy from drowning. The boy’s family him a green silk sash in recognition of his . Red Kelly died when Ned was young and Ned was left to provide for the family. He worked cutting timber, breaking in horses, mustering cattle and fencing. During his teenage years, Ned got in trouble with the police. In 1878, Ned felt that his mother was put in prison wrongfully and he was being harassed by the police, so he went into the bush to hide. Together with his brother Dan and two others, Joe Byrne and Steve Hart, they became the Kelly Gang. The Gang was after killing three policemen at Stringybark Creek. This meant that they could be shot on sight by anybody at any time. For two years, the Gang robbed and avoided being captured. At the Jerilderie Bank robbery in 1879, with the help of Joe, Ned wrote a famous telling his side of the story. Many struggling small farmers of north-east Victoria felt they understood the Gang’s actions. It has been said that most of the takings from his famous bank robberies went to help his supporters, so many say Ned was an Australian Robin Hood. -
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. -
Leslie Raymond DOOLE,David Maurice NICHOLLS,Francis
Leslie Raymond DOOLE 11/05/2021 Leslie Raymond DOOLE AKA ? Late of Brewarrina, NSW New South Wales Police Force Regd. # ????????? Service: From ? ? ? to ? ? ? = 33 years Service Rank: Commenced at Brewarrina Police on ? ? ? Unsworn Volunteer in Policing – 8 years Unsworn Aboriginal Community Liaison Officer – 25 years Final Rank = Unsworn Aboriginal Community Liaison Officer ( ACLO ) Stations: Brewarrina, NSW Retirement / Leaving age: = ? Time in Retirement from Police: ? Awards: No Find on Australian Honours system Born: ? ? ? Died on: Tuesday 23 March 2021 Age: 78 Cause: ? Event location: ? Event date: ? Funeral date: Friday 16 April 2021 @ 11am Funeral location: Brewarrina Community Call, Brewarrina, NSW ( click here to see Cornona19 Virus Pandemic rules – this will be a limited numbers Funeral ) any Future Wake location: ??? TBA any Future Wake date: ??? TBA ( Due to current Govt. restrictions on ‘Gatherings’ due to Corona19 Virus Pandemic, some families may wish to have a Memorial Service / Wake with friends and family at a later date ) Funeral Parlour: M. J. Ford Funerals, 79 Euroka St, Walgett, NSW Buried at: Brewarrina Cemetery, Charlton Rd, Brewarrina, NSW Memorial / Plaque / Monument located at: ? Dedication date of Memorial / Plaque / Monument: Nil – at this time ( May 2021 ) FURTHER INFORMATION IS NEEDED ABOUT THIS PERSON, THEIR LIFE, THEIR CAREER AND THEIR DEATH. PLEASE SEND PHOTOS AND INFORMATION TO Cal May they forever Rest In Peace https://www.facebook.com/groups/AustralianPolice.com.au/ https://www.facebook.com/NSWFallenPolice/ https://www.facebook.com/groups/NSWFallenPolice/ Australian Police YouTube Channel Four gentlemen, ACLO’s Buddy Parsons (dec 2015), Les Doole and Trever Demmery with Chief Inspector Roger David Smith (Rtd). -
Representing Judges
A Brush with the Law: Visual Representations of Sir Redmond Barry and the Trial of Ned Kelly Structure • Aim: compare and contrast official and unofficial images of the same judge and explore themes of judgment contained in the artworks. • 1. How is Barry portrayed in artworks that are not connected with the Ned Kelly trial? • 2. The Ned Kelly Story • 3. How is Barry Portrayed in images of the Ned Kelly story? Does the portrayal of Barry change overtime? • 4. Impact of the Ned Kelly story on pro-Barry images • 5. Has Barry been misjudged? Questioning the underpinnings of anti-Barry images 1. How is Judge Barry portrayed in artworks that are not connected with the Ned Kelly trial? The courthouse portraits will ‘hang there in like manner as the portraits of many of the sages of the law are held in the Courts at Guildhall.’ When Victoria built a grand courthouse in 1884, there was an ‘attempt to create an Australian pantheon of similar legal sages.’ Sage: a person of wise judgment Barry as a ‘sage of the law’. The sitter is a mannequin clothed in the signs and symbols of wise judgment: • Facial expression – impartial, even tempered, even handed • Powerful stance and physical presence – represents law’s power, majesty and strength • The new courthouse – civilization builder • ‘Stately’ full length standing portrait (not sitting) - strength of character and managerial abilities • Judicial Clothing - uniformity; authority, pro British • The judicial chair - judicial lineage, continuity, consistency; the constancy and natural growth of the common law. There was a refashioning of the judicial image in the pre- federation era – portraits became more ‘stately’ and strength of character / managerial abilities were virtues being portrayed. -
Racial Tragedy, Australian History, and the New Australian Cinema: Fred Schepisi's the Chant of Jimmie Blacksmith Revisited
FILMHISTORIA Online Vol. 28, núms. 1-2 (2018) · ISSN: 2014-668X Racial Tragedy, Australian History, and the New Australian Cinema: Fred Schepisi’s The Chant of Jimmie Blacksmith Revisited ROBERT J. CARDULLO University of Michigan Abstract The Chant of Jimmie Blacksmith (1978) broke ground in its native country for dealing bluntly with one of the most tragic aspects of Australian history: the racist treatment of the aboriginal population. Adapted faithfully from the 1972 novel by Thomas Keneally, the film concerns a young man of mixed race in turn-of-the-century Australia who feels torn between the values and aspirations of white society, on the one hand, and his aboriginal roots, on the other, and who ultimately takes to violence against his perceived white oppressors. This essay re-views The Chant of Jimmie Blacksmith from the following angles: its historical context; its place in the New Australian Cinema; its graphic violence; and the subsequent careers of the film’s director, Fred Schepisi, and its star, Tommy Lewis. Keywords: The Chant of Jimmie Blacksmith; Fred Schepisi; Thomas Keneally; New Australian Cinema; racism and colonialism Prior to the late 1970s, Australia was something of a cinematic backwater. Occasionally, Hollywood and British production companies would turn up to use the country as a backdrop for films that ranged from the classic (On the Beach [1959]) to the egregious (Ned Kelly [1970], starring Mick Jagger). But the local movie scene, for the most part, was sleepy and unimaginative and very few Australian films traveled abroad. Then, without warning, Australia suddenly experienced an efflorescence of imaginative filmmaking, as movies such as Picnic at Hanging Rock (1975), The Getting of Wisdom (1977), My Brilliant Career (1979), and Breaker Morant (1980) began to be shown all over the world. -
Australian Aboriginal Verse 179 Viii Black Words White Page
Australia’s Fourth World Literature i BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Australia’s Fourth World Literature iii BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Adam Shoemaker THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS iv Black Words White Page E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au Previously published by University of Queensland Press Box 42, St Lucia, Queensland 4067, Australia National Library of Australia Cataloguing-in-Publication entry Black Words White Page Shoemaker, Adam, 1957- . Black words white page: Aboriginal literature 1929–1988. New ed. Bibliography. Includes index. ISBN 0 9751229 5 9 ISBN 0 9751229 6 7 (Online) 1. Australian literature – Aboriginal authors – History and criticism. 2. Australian literature – 20th century – History and criticism. I. Title. A820.989915 All rights reserved. You may download, display, print and reproduce this material in unaltered form only (retaining this notice) for your personal, non-commercial use or use within your organization. All electronic versions prepared by UIN, Melbourne Cover design by Brendon McKinley with an illustration by William Sandy, Emu Dreaming at Kanpi, 1989, acrylic on canvas, 122 x 117 cm. The Australian National University Art Collection First edition © 1989 Adam Shoemaker Second edition © 1992 Adam Shoemaker This edition © 2004 Adam Shoemaker Australia’s Fourth World Literature v To Johanna Dykgraaf, for her time and care -
A Caring and Hard-Working Mum the Life of Clara 'Minnie' Broadie
A caring and hard-working mum The life of Clara ‘Minnie’ Broadie 1899-1980 By Julie Poulter © 2019 Clara Broadie was my paternal great grandmother. She died when I was eight years old and I only have a few memories of her, despite her being in my life at least weekly for all those years. I am in the process of piecing together her life, with the help of family members who knew her better than I. She was known as Nan Hill to me and her death in 1980 was the first death that really affected me. It’s when I learnt that people you love do go away forever. A few years later my cousins and I held a séance trying to communicate with her one last time; we weren’t successful, but it just shows how important a part of our lives she had been. She was a tiny woman who left a large imprint on our lives. Clara Broadie was born on the 6th September 1899 in Wattle Flat, near Bathurst, New South Wales. Her parents were George Broadie and Ellen Core. Clara was their first child, born four and a half months after her parents had married. Clara was delivered by her grandmother Mary Ann Core. Family legend is that Clara was born prematurely and was so small she had to wrapped in cotton wool and kept alive with goat’s milk. September in that part of Australia is a crisp affair, with average temperatures at night around two degrees. It is not known how premature Clara was, but she was clearly strong enough to survive her parents care and survival methods. -
Mary Ann Bugg – “Captain Thunderbolt's Lady.”
Mary Ann Bugg – “Captain Thunderbolt’s Lady.” Adapted with permission by Barry Sinclair, from an article written in1998 by Andrew Stackpool There were two “female bushrangers” in Australia, Mary Ann, wife, & chief lieutenant of Fred Ward and “Black Mary”, companion of Michael Howe, notorious bushranger in Tasmania in the early 1800’s. While much is made of and written about the partners of the other bushrangers, little is recorded on the life of our female bushrangers. In the case of Mary Ann, she is responsible for Fred Ward being at large for so long. Her distinct femininity and her Aboriginal heritage were probably the reason for Fred’s dislike of using firearms. She certainly taught him to read and write, and her skills developed, as part of her aboriginality, served them both well in their life in the bush. The blending of Aboriginal and European features in Mary Ann created a remarkable beauty, which was commented on many times during her career. Mary Ann Bugg was born near Gloucester/Stroud in New South Wales. Her father was a shepherd named James Brigg (who subsequently changed his name to Bugg). He was born in Essex in England in 1801 and on 18 July 1825 was transported for life for stealing meat. He arrived in Sydney on the ship “SESOSTRIS” on 26 March 1826 and on 15 January 1828 was assigned to the Australian Agricultural Company as Overseer of Shepherds. He was successful in his duties and in 1834 was granted a Ticket of Leave. This meant he was technically a free man who could own property but could not leave the Colony. -
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.