Pub Date : 2023-07-03DOI: 10.1080/14490854.2023.2236160
S. Ville
For Australians, like the inhabitants of many nations, the first half of the twentieth century was an era of immense turbulence. Two world wars separated by a Great Depression shaped, indeed scarred, the memories of several generations. For those born in the 1890s, like my own grandparents, service in World War One was soon followed by economic hardship, then witnessing their own offspring marching back to the horrors of war. In this important book, Joan Beaumont suggests that, for Australians at least, the Great Depression was less traumatic than the two world wars and as a result has received less attention from scholars. She concludes that its impact has been overstated: ‘a more nuanced, less pessimistic view ... seems warranted’ (458). At the same time, though, she believes that this was the worst economic crisis Australia has faced, which might imply that we have never really had it bad in peacetime. The 1890s, which has received even less overall coverage, is surely also a strong candidate for the worst of times. Financial crises, drought and industrial conflict together cast a dark shadow over much of colonial Australia during that decade. Nonetheless, Beaumont provides a sensible, balanced interpretation of the Depression’s impact. Such a study, she suggests, is long overdue because race, gender, and memory have displaced class, labour relations and the economy in recent decades of Australian historiography. While ‘starvation did not stalk the streets of Depression Australia’ (215), hunger and malnutrition were evident, as were unemployment, homelessness, and itinerancy. Unemployment, of course, rose but perhaps not by as much, nor for as long, as many had initially feared. Secular trends in wellbeing and health – such as rising life expectancy and falling infant mortality rates – were barely interrupted. As in most crises, economic or otherwise, the most vulnerable took a disproportionate share of the burden, including the poor, the young, the old, Indigenous Australians, new migrants, and single women. Despite the rhetoric of the time, there was no ‘equality of sacrifice’. It would have been interesting to hear more about how Australia compared in terms of impact and policy responses with other nations. Britain faced enduring structural unemployment as the traditional staple industries collapsed in the old northern industrial
{"title":"Joan Beaumont reassesses the impact of the Great Depression in Australia","authors":"S. Ville","doi":"10.1080/14490854.2023.2236160","DOIUrl":"https://doi.org/10.1080/14490854.2023.2236160","url":null,"abstract":"For Australians, like the inhabitants of many nations, the first half of the twentieth century was an era of immense turbulence. Two world wars separated by a Great Depression shaped, indeed scarred, the memories of several generations. For those born in the 1890s, like my own grandparents, service in World War One was soon followed by economic hardship, then witnessing their own offspring marching back to the horrors of war. In this important book, Joan Beaumont suggests that, for Australians at least, the Great Depression was less traumatic than the two world wars and as a result has received less attention from scholars. She concludes that its impact has been overstated: ‘a more nuanced, less pessimistic view ... seems warranted’ (458). At the same time, though, she believes that this was the worst economic crisis Australia has faced, which might imply that we have never really had it bad in peacetime. The 1890s, which has received even less overall coverage, is surely also a strong candidate for the worst of times. Financial crises, drought and industrial conflict together cast a dark shadow over much of colonial Australia during that decade. Nonetheless, Beaumont provides a sensible, balanced interpretation of the Depression’s impact. Such a study, she suggests, is long overdue because race, gender, and memory have displaced class, labour relations and the economy in recent decades of Australian historiography. While ‘starvation did not stalk the streets of Depression Australia’ (215), hunger and malnutrition were evident, as were unemployment, homelessness, and itinerancy. Unemployment, of course, rose but perhaps not by as much, nor for as long, as many had initially feared. Secular trends in wellbeing and health – such as rising life expectancy and falling infant mortality rates – were barely interrupted. As in most crises, economic or otherwise, the most vulnerable took a disproportionate share of the burden, including the poor, the young, the old, Indigenous Australians, new migrants, and single women. Despite the rhetoric of the time, there was no ‘equality of sacrifice’. It would have been interesting to hear more about how Australia compared in terms of impact and policy responses with other nations. Britain faced enduring structural unemployment as the traditional staple industries collapsed in the old northern industrial","PeriodicalId":35194,"journal":{"name":"History Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48955127","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/14490854.2023.2235384
Paul Strangio
{"title":"Chris Wallace on biography as an instrument of image making in national politics; and Ross Walker’s life story of Harold Holt","authors":"Paul Strangio","doi":"10.1080/14490854.2023.2235384","DOIUrl":"https://doi.org/10.1080/14490854.2023.2235384","url":null,"abstract":"","PeriodicalId":35194,"journal":{"name":"History Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43102129","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/14490854.2023.2236663
Kate Fullagar, J. Lake, Benjamin Mountford, E. Warne
{"title":"Editorial","authors":"Kate Fullagar, J. Lake, Benjamin Mountford, E. Warne","doi":"10.1080/14490854.2023.2236663","DOIUrl":"https://doi.org/10.1080/14490854.2023.2236663","url":null,"abstract":"","PeriodicalId":35194,"journal":{"name":"History Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48715912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/14490854.2023.2236156
R. McKenzie
Leah Lui-Chivizhe describes her approach, on her initial visit to the British Museum to study their collection of Torres Strait Islander masks, as ‘less of the modern “native” looking at “our old things” and more of the earnest research student’ (xxi). Less of one and more of the other at that particular moment but in her book, Lui-Chivizhe seeks to combine these identities. As a Torres Strait Islander scholar, it was her express intention to write ‘an islander-oriented history’ of turtle shell masks: to conduct research into the questions about the past that mattered to Islanders, using terms that made sense to them. The introductory chapter orients the reader to Torres Strait conceptions of space and time. The cyclic rhythm of the seasons is overlaid for islanders by a chronology that divides into two periods: the bipotaim (the old times) ‘before everything changed’ (164) with the coming of Christianity in 1871 and pastaim, the time since then. While the final chapter of the book introduces a series of vignettes on contemporary artists’ work, the main focus of the book is on masks collected in the nineteenth century and understanding them in the context of the bipotaim. The book’s mission is thus shadowed by loss. A fact, which I think needed more emphasis, as it only gets passing mention in the introduction, is that by the 1870s there were few masks remaining within communities on the islands. Turtle shell masks entered museums and private collections world-wide from about 1830 on. Those collected after the 1870s were likely commissions as the full-scale conversion of the islands to Christianity disparaged the old ways, leading to masks being destroyed. For Lui-Chivizhe, writing this book was a way, as she puts it, to ‘take back’ the masks (164). One way she does this is through reconnecting them with their origin stories. In her quest for information about the time ‘before...’ Lui-Chivizhe casts a wide net, utilising sometimes-incongruous sources. For example in Chapter 2, the hard material science of archaeology that produces dates for human habitation of the Strait (even if broad windows) is paired with a reading of culture hero narratives as historical texts when they lack co-ordinates for locating when the actions described took place. Lui-Chivizhe’s use of these stories as historical sources – stories which ‘reach back to mythic time’ and characteristically combine natural and supernatural explanations of the world (6) – is an essential plank of her islander-oriented approach and one of the strong
Leah lui - chivi喆描述了她第一次去大英博物馆研究托雷斯海峡岛民面具收藏时的做法，“不像现代的‘原住民’那样看待‘我们的旧东西’，而更像一个认真的研究学生”(21)。在那个特定的时刻，lui - chivi喆少了一种，多了一种，但在她的书中，lui - chivi喆试图将这些身份结合起来。作为一名托雷斯海峡岛民学者，她明确表示要写一部“岛民导向的海龟壳面具历史”:用对岛民有意义的术语，对岛民关心的过去问题进行研究。引言部分引导读者了解托雷斯海峡的空间和时间概念。对于岛上居民来说，季节的循环节奏被一个年表所覆盖，年表分为两个时期:bipotaim(旧时代)“在一切都发生变化之前”(1664年)，随着1871年基督教的到来，以及pastaim，从那时起。虽然书的最后一章介绍了一系列关于当代艺术家作品的小插图，但这本书的主要重点是19世纪收集的面具，并在双波泰姆的背景下理解它们。因此，这本书的使命被损失蒙上了阴影。有一个事实，我认为需要更多的强调，因为它只是在介绍中被忽略了，那就是到19世纪70年代，岛上的社区里已经很少有面具了。大约从1830年起，甲壳面具进入了世界各地的博物馆和私人收藏。19世纪70年代以后收集的那些很可能是受委托的，因为该岛全面皈依基督教，贬低了旧的方式，导致面具被摧毁。对吕赤薇哲来说，写这本书是一种“收回”面具的方式(164页)。她这样做的一种方法是将他们与他们的原始故事重新联系起来。在她寻求关于“之前”时间的信息时……吕志哲广泛撒网，有时利用不协调的资源。例如，在第2章中，考古学的硬材料科学产生了海峡人类居住的日期(即使是宽窗)，与文化英雄叙事作为历史文本的阅读相匹配，因为它们缺乏定位所描述的行动发生时间的坐标。吕志哲将这些故事作为历史来源——这些故事“可以追溯到神话时代”，并结合了对世界的自然和超自然解释的特点(6)——是她以岛民为导向的研究方法的重要组成部分，也是她的强项之一
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Pub Date : 2023-07-03DOI: 10.1080/14490854.2023.2236151
Ian Hoskins
{"title":"Alan Atkinson writes about two of the best-known and consequential figures of early colonial Australia","authors":"Ian Hoskins","doi":"10.1080/14490854.2023.2236151","DOIUrl":"https://doi.org/10.1080/14490854.2023.2236151","url":null,"abstract":"","PeriodicalId":35194,"journal":{"name":"History Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42203434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/14490854.2023.2236659
R. Tyler
Abstract This article provides an analysis of the cultural expression of the Welsh ethno-linguistic community in Ballarat, Victoria, during the second half of the nineteenth century. The study considers culture maintenance, and focuses on the way Welsh cultural expression, especially as manifest in the Eisteddfod, was modified over time. The article argues that this change was closely linked to the forces of assimilation, particularly occupational change, high levels of exogamy, and contemporary developments in Wales that served to undermine the vitality of Welsh culture.
{"title":"Acculturation and change in ethno-linguistic cultural expression: the Welsh in Ballarat, Victoria, in the second half of the nineteenth century","authors":"R. Tyler","doi":"10.1080/14490854.2023.2236659","DOIUrl":"https://doi.org/10.1080/14490854.2023.2236659","url":null,"abstract":"Abstract This article provides an analysis of the cultural expression of the Welsh ethno-linguistic community in Ballarat, Victoria, during the second half of the nineteenth century. The study considers culture maintenance, and focuses on the way Welsh cultural expression, especially as manifest in the Eisteddfod, was modified over time. The article argues that this change was closely linked to the forces of assimilation, particularly occupational change, high levels of exogamy, and contemporary developments in Wales that served to undermine the vitality of Welsh culture.","PeriodicalId":35194,"journal":{"name":"History Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41759125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/14490854.2023.2236665
M. Funston
ACMI’s Goddess: Power, Glamour, Rebellion is an aptly titled celebration of women and their triumphs in the screen industry. The exhibition, which will remain in Melbourne until October, was curated to honour the trailblazing women of the film industry, those who embraced their power, disrupted stereotypes and challenged norms. It features a vast collection of costumes and artefacts from across cinema history, presenting women in the screen industry as empowered revolutionaries, and yet as intrinsically feminine, and ever glamorous. The exhibition opens, rather expectedly, with a tribute to Marilyn Monroe, her iconic rendition of ‘Diamonds Are a Girl’s Best Friend’ in Gentlemen Prefer Blondes, and the hot-pink satin dress in which she performed. A video montage of homages performed by Madonna, Margot Robbie, Kylie Jenner and others is projected behind three appropriately hot-pink costumes: a jazzy outfit worn by First Nations actress Elaine Crombie in the ABC comedy series Kiki and Kitty, a jumpsuit worn by Robbie in Birds of Prey, and a gown worn by model Winnie Harlow. This introduction embodies many of Goddess’s key themes, including the dual beauty and power of femininity, the notion of legacy, the evolution of gender ideals, and not least a celebration of the colour pink. Goddess’s focus is expansive, unfolding thematically as it stretches across decades and national cinemas, a breadth which honours the diversity of women and their stories both on and off the screen. The exhibition’s design evokes the highly feminine space of an old Hollywood dressing room, as the soft pink walls, luxe love seats, subtle lighting and abundant mirrors create a sensual and welcoming atmosphere. Goddess pays careful attention to matters of race, paying tribute to a diverse array of actresses from disparate national cinemas. However, ACMI’s proclivity for empowerment-focused language, and the exhibition’s focus on triumphant women who are presented as having vanquished racism, risk downplaying the very real, destructive consequences of such prejudice. This, of course, is difficult to avoid given the exhibition’s uplifting nature, and Goddess does feature notably political, and surprisingly rare, discussions of race in cinema. For instance, a tribute to Dorothy Dandridge celebrates her defiance of racial stereotypes and success as the first Black woman to be nominated for an Oscar for Best
ACMI的《女神:力量、魅力、叛逆》是对女性和她们在电影行业取得的成就的一次恰如其分的庆祝。该展览将在墨尔本持续到10月，旨在向电影行业的先锋女性致敬，她们拥抱自己的力量，打破刻板印象，挑战规范。它以电影史上的大量服装和手工艺品为特色，展示了电影行业中的女性作为强大的革命者，但本质上是女性化的，永远迷人。不出所料，展览的开场是对玛丽莲·梦露(Marilyn Monroe)的致敬，她在电影《绅士爱美人》(Gentlemen Prefer Blondes)中演唱的经典歌曲《钻石是女孩最好的朋友》(Diamonds Are a Girl’s Best Friend)，以及她表演时穿的那条艳粉色缎面连衣裙。一段由麦当娜、玛格特·罗比、凯莉·詹娜等人表演的蒙太奇视频被展示在三套合适的艳粉色服装后面:第一民族女演员伊莱恩·克伦比在ABC喜剧《琪琪和凯蒂》中穿的爵士服装，罗比在《猛禽》中穿的连衣裤，以及模特温妮·哈洛穿的礼服。这个介绍体现了女神的许多关键主题，包括女性气质的双重美丽和力量，遗产的概念，性别理想的演变，尤其是对粉红色的庆祝。《女神》的关注点是广泛的，它的主题是展开的，因为它跨越了几十年和全国的电影院，这种广度尊重了银幕内外女性的多样性和她们的故事。展览的设计唤起了老好莱坞更衣室的高度女性化空间，柔和的粉红色墙壁，豪华的爱情座椅，微妙的照明和丰富的镜子创造了一个感性和欢迎的氛围。《女神》非常关注种族问题，向来自不同国家影院的各种女演员致敬。然而，ACMI倾向于使用以赋权为中心的语言，而展览的重点是那些战胜了种族主义的胜利女性，这可能会淡化这种偏见的真实破坏性后果。当然，考虑到这场展览令人振奋的本质，这是很难避免的，《女神》在电影中确实有明显的政治特征，而且令人惊讶的是，很少有关于种族的讨论。例如，向多萝西·丹德里奇(Dorothy Dandridge)致敬，庆祝她对种族刻板印象的蔑视，以及她作为第一位获得奥斯卡最佳提名的黑人女性的成功
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Pub Date : 2023-07-03DOI: 10.1080/14490854.2023.2236152
L. Frost
Simon Ville and David Merrett are doyens of Australian business and economic history. In this excellent book
Simon Ville和David Merrett是澳大利亚商业和经济史上的元老。在这本优秀的书中
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Pub Date : 2023-07-03DOI: 10.1080/14490854.2023.2228349
N. Cushing
{"title":"Anna Clark explores how Australian History has been made and why it matters","authors":"N. Cushing","doi":"10.1080/14490854.2023.2228349","DOIUrl":"https://doi.org/10.1080/14490854.2023.2228349","url":null,"abstract":"","PeriodicalId":35194,"journal":{"name":"History Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42465767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/14490854.2023.2236667
H. Goodall
This rich exhibition offers insights into the world of the Barka River (aka the Darling). It demands your imagination to explore its gifts. The Australian Museum is committed to ensuring that First Nations Australian voices are presented, and they are here: warm, determined and diverse. But the design approach in this exhibition is minimalist, so you need to explore energetically. That will also let you hear the Barkandji community’s call: you too have to help save the river. You are drawn in first by a spectacular image – a striking, aerial photo of the amazingly meandering Barka River and the plains around it at Menindee. This river is one of the longest on earth and one of the most powerful – and yet this image, although visually astounding with its deep red colours, looks empty. The next step in this exhibition challenges this emptiness immediately – with objects less overwhelming but far more rewarding. Glistening mussel shells hang down on fine lines just across from the huge photograph. Theymake a striking contrast – the fine shells reflect shimmering light as they twist on their strings, delicately carved with images of the many birds, animals and people who depend on them. So the river is not empty at all! The accompanying panel – Yuritja Kirra –Mussel Country – tells you the real story of this river, where water and its living creatures are interdependent, sustaining each other with food, stories andmemories. The remarkable longevity of that Barkandji care is demonstrated just below the sparkling shells, where more robust mussels are laid out on sand like a string of pearls. Mussels are scarce in the river now, but the panel explains that the Barkandji have looked after the river for thousands of years so their oral traditions tell about a time when river mussels were abundant. The thicker shells on the sand in this installation were found in deep excavations along the river – confirming Barkandji stories about the abundance of mussels earlier on. The Barkandji today still care for the river and the environment but they are not ‘frozen in time’. Instead, they live in the high technology present. They are battling heavily industrialised agriculture draining water out of the river for irrigation at the same time as pouring back the damaging inputs needed for cotton, avocado and grazing. The Barkandji, having faced over 200 years of colonial impact, are calling out for your support to save the river and their more-than-human world. Close to the mussels are a series of warm portraits of people from the Barkandji community – painted by Justine Muller – which are enriched by their voices as they
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