Relevant bibliographies by topics / Aboriginal Australians Historiography

Academic literature on the topic 'Aboriginal Australians Historiography'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Aboriginal Australians Historiography"

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Briscoe, Gordon. "Aboriginal Australian Identity: the historiography of relations between indigenous ethinic groups and other Australians, 1788 to 1988." History Workshop Journal 36, no. 1 (1993): 133–61. http://dx.doi.org/10.1093/hwj/36.1.133.

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Kumari, Pariksha. "Reconstructing Aboriginal History and Cultural Identity through Self Narrative: A Study of Ruby Langford’s Autobiography Don‘t Take Your Love to Town." SMART MOVES JOURNAL IJELLH 8, no. 12 (December 28, 2020): 128–40. http://dx.doi.org/10.24113/ijellh.v8i12.10866.

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The last decades of previous century has witnessed the burgeoning of life narratives lending voice to the oppressed, dispossessed, and the colonized marginalities of race, class or gender across the world. A large number of autobiographical and biographical narratives that have appeared on the literary scene have started articulating their ordeals and their struggle for survival. The Aboriginals in Australia have started candidly articulating their side of story, exposing the harassment and oppression of their people in Australia. These oppressed communities find themselves sandwiched and strangled under the mainstream politics of multiculturalism, assimilation and secularism. The present paper seeks to analyze how life writing serves the purpose of history in celebrated Australian novelist, Aboriginal historian and social activist Ruby Langford’s autobiographical narrative, Don’t Take Your Love to Town. The Colonial historiography of Australian settlement has never accepted the fact of displacement and eviction of the Aboriginals from their land and culture. The whites systematically transplanted Anglo-Celtic culture and identity in the land of Australia which was belonged to the indigenous for centuries. Don’t Take Your Love to Town reconstructs the debate on history of the colonial settlement and status of Aboriginals under subsequent government policies like reconciliation, assimilation and multiculturalism. The paper is an attempt to gaze the assimilation policy adopted by the state to bring the Aboriginals into the mainstream politics and society on the one hand, and the regular torture, exploitation and cultural degradation of the Aboriginals recorded in the text on the other. In this respect the paper sees how Langford encounters British history of Australian settlement and the perspectives of Australian state towards the Aboriginals. The politics of mainstream culture, religion, race and ethnicity, which is directly or indirectly responsible for the condition of the Aboriginals, is also the part of discussion in the paper.
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Rowse, Tim, and Emma Waterton. "The ‘difficult heritage’ of the Native Mounted Police." Memory Studies 13, no. 4 (May 10, 2018): 737–51. http://dx.doi.org/10.1177/1750698018766385.

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This article intervenes in the debate about whether and how the ‘Frontier Wars’ should be represented in Australia’s military heritage. If they were to be represented, those who resisted British colonial occupation would figure as Aboriginal patriots in a renovated heritage of Australian service to country. We point out, however, that certain historical actors have been, so far (and perhaps forever), excluded from such a revised Indigenous military heritage: those Aboriginal peoples who ‘served’ in the Native Mounted Police. While the archival record is patchy, scholarship tells us that, in their pacification of frontiers, the Native Mounted Police killed many Aboriginal peoples. Interrogating the meaning of war heritage in Australia, we discuss the politics of forgetting against the obligations of historiography to collective memory and ask: must scholarship always interrogate identity-sustaining myth, in service to the truth? To explore this question, we adopt Sharon Macdonald’s concept of ‘difficult heritage’.
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Beckett, Louise Butt. "The Function of ‘the tragic’ in Henry Reynolds' Narratives of Contact History." Queensland Review 3, no. 1 (April 1996): 62–72. http://dx.doi.org/10.1017/s1321816600000684.

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This paper discusses the ways in which ideas of ‘the tragic’ function in recent narratives of contact history in Australia. ‘Contact history’ is used here to refer to first and second generation contact between Aboriginal people and the European invaders in Australia in the eighteenth and nineteenth centuries, and I shall be primarily concerned with those historical narratives which attempt to ‘re-write’ history to include Aboriginal responses during this period. Within Australian historiography this project is said to have commenced in the 1970s, prompted by wider events in the Australian community such as the Aboriginal land rights movement (Curthoys 1983, 99). One of the best-known contributors to this project of inclusion has been Henry Reynolds, now the author of eight books dedicated to it. I shall be examining two of Reynolds' most recent contributions to this area: With the White People (1990) and The Fate of a Free People (1995). At the same time that Reynolds and other professional historians have engaged in this project, there has been an increasing body of work by Aboriginal writers — much of it classified as fiction rather than academic historiography — examining these same themes of initial contact and resistance to invasion. In order to clarify some of my arguments about the function of the tragic mode in Reynolds' work, I shall also discuss a recently published short story by the Aboriginal writer, Gerry Bostock.
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Byrne, Paula Jane. "War People: Punitive Raids, Democracy and the White Family in Australia." Genealogy 4, no. 4 (October 14, 2020): 101. http://dx.doi.org/10.3390/genealogy4040101.

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Apart from descriptions of ideas of race, Australian historiography has not perceived acts of violence to Aboriginal people in their wider social and political context. Analysis of perpetrators has derived from family histories but this, so far, has been limited to studies of emotion. One family’s and one area’s experience of frontier violence shows that it was thought about in terms of ‘volunteering’ and democratic participation. The new technology of the telegraph brought violence and its description closer and ‘brave’ and ‘gallant’ men sought to involve themselves in war. They also recognized political divisions among Aboriginal people and negotiated a complex realm of ‘friendly blacks’.
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Perheentupa, Johanna. "Victims of the Past? White-Aboriginal Relations in Australian Historiography in the Nineteenth Century." Zeitschrift für Australienstudien / Australian Studies Journal 23 (2009): 24–41. http://dx.doi.org/10.35515/zfa/asj.23/2009.03.

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Taylor, Rebe. "Archaeology and Aboriginal Protest: The Influence of Rhys Jones's Tasmanian Work on Australian Historiography." Australian Historical Studies 45, no. 3 (September 2, 2014): 331–49. http://dx.doi.org/10.1080/1031461x.2014.948021.

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Madhusudhanan, Manchusha. "Revoking Besieged Memories: Scanning Modes of Memory in Alexis Wright’s Carpentaria." SMART MOVES JOURNAL IJELLH 8, no. 6 (June 29, 2020): 67–76. http://dx.doi.org/10.24113/ijellh.v8i6.10631.

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The dominant history of Australia has always reflected the beauty and abundance of its aboriginal world,in dim light. An analysis of the literary canon too proves this lack of acknowledgement and understanding, of the native ways of life and identity formations. Carpentaria by Alexis Wright challenges the very notion of history as a single strand of chronologically ordered set of events. When besieged memories are evoked new traces of memory surface shedding new light on the past. It initiates a process rewriting history. Postmodern historiography today accepts the subjectivity and literariness of histories. Only a thin line exists between history and fiction. In a nation’s narrative, memory is a trope that foregrounds the polyphonic voices of the nation. The imaginary town of Desperance in Carpentaria is a microcosm of the Australian society. It is here, truth and appropriations crisscross to create a true picture of the Australian society.
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Howe, K. R. "ESSAY AND REFLECTIONS; On Aborigines and Maoris in Australian and New Zealand Historiography." International History Review 10, no. 4 (November 1988): 594–610. http://dx.doi.org/10.1080/07075332.1988.9640493.

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Condon, Anthony. "The Positioning of Indigenous People in Australian History: A Historiography of the 1868 Aboriginal Cricket Tour of England." International Journal of the History of Sport 35, no. 5 (March 24, 2018): 411–30. http://dx.doi.org/10.1080/09523367.2018.1453499.

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Dissertations / Theses on the topic "Aboriginal Australians Historiography"

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Fernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.

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This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia artists, continuing into the 1990s and beyond. I will be examining the works of four contemporary female artists and the impetus behind their work. The three main artists whose works will be examined are Brenda L. Croft, Destiny Deacon and Rea all of whom have dealt with issues of representation of the 'Blak female body, gender and reclamation of identity. The thesis will examine the works of these artists in relation to the history of representation by the dominant culture. Chapter 6 will look at a new emerging artist, Dianne Jones, who is looking at similar issues as the artists mentioned. This continuing critique of representation by Jones is testimony of the prevailing issues concerning Aboriginal representation
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Monaghan, Paul. "Laying down the country : Norman B. Tindale and the linguistic construction of the North-West of South Australia." Title page, contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09PH/09phm734.pdf.

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"June 2003" 2 maps in pocket on back cover. Bibliography: leaves 285-308. This thesis critically examines the processes involved in the construction of the linguistic historical record for the north-west region of South Australia. Focussing on the work of Norman B. Tindale, the thesis looks at the construction of Tindale's Pitjantjatjara, Yankunytjatjara and Antikirinya representations. It argues that Tindale effectively reduced a diversity of indigenous practices to ordered categories more reflective of Western and colonial concepts than indigenous views. Tindale did not consider linguistic criteria in depth, had few informants, worked within arbitary tribal boundaries, was biased towards the category 'Pitjantjatjara' and was informed by notions of racial/linguistic purity. These factors which shaped the linguistic record must be taken into account when interpreting records for use as historical and native Title evidence.
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O'Donnell, David O'Donnell, and n/a. "Re-staging history : historiographic drama from New Zealand and Australia." University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.

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Since the 1980s, there has been an increasing emphasis on drama, in live theatre and on film, which re-addresses the ways in which the post-colonial histories of Australia and New Zealand have been written. Why is there such a focus on �historical� drama in these countries at the end of the twentieth century and what does this drama contribute to wider debates about post-colonial history? This thesis aims both to explore the connections between drama and history, and to analyse the interface between live and recorded drama. In order to discuss these issues, I have used the work of theatre and film critics and historians, supplemented by reference to writers working in the field of post-colonial and performance theory. In particular, I have utilised the methods of Helen Gilbert and Joanne Tompkins in Post-Colonial Drama: Theory, Practice, Politics, beginning with their claim that in the post-colonial situation history has been seen to determine reality itself. I have also drawn on theorists such as Michel Foucault, Linda Hutcheon and Guy Debord who question the �truth� value of official history-writing and emphasize the role of representation in determining popular perceptions of the past. This discussion is developed through reference to contemporary performance theory, particularly the work of Richard Schechner and Marvin Carlson, in order to suggest that there is no clear separation between performance and reality, and that access to history is only possible through re-enactments of it, whether in written or performative forms. Chapter One is a survey of the development of �historical� drama in theatre and film from New Zealand and Australia. This includes discussion of the diverse cultural and performative traditions which influence this drama, and establishment of the critical methodologies to be used in the thesis. Chapter Two examines four plays which are intercultural re-writings of canonical texts from the European dramatic tradition. In this chapter I analyse the formal and thematic strategies in each of these plays in relation to the source texts, and ask to what extent they function as canonical counter-discourse by offering a critique of the assumptions of the earlier play from a post-colonial perspective. The potential of dramatic representation in forming perceptions of reality has made it an attractive forum for Maori and Aboriginal artists, who are creating theatre which has both a political and a pedagogical function. This discussion demonstrates that much of the impetus towards historiographic drama in both countries has come from Maori and Aboriginal writers and directors working in collaboration with white practitioners. Such collaborations not only advance the project of historiographic drama, but also may form the basis of future theatre practice which departs from the Western tradition and is unique to each of New Zealand and Australia. In Chapter Three I explore the interface between live and recorded performance by comparing plays and films which dramatise similar historical material. I consider the relative effectiveness of theatre and film as media for historiographic critique. I suggest that although film often has a greater cultural impact than theatre, to date live theatre has been a more accessible form of expression for Maori and Aboriginal writers and directors. Furthermore, following theorists such as Brecht and Brook, I argue that such aspects as the presence of the live performer and the design of the physical space shared by actors and audience give theatre considerable potential for creating an immediate engagement with historiographic themes. In Chapter Four, I discuss two contrasting examples of recorded drama in order to highlight the potential of film and television as media for historiographic critique. I question the divisions between the documentary and dramatic genres, and use Derrida�s notion of play to suggest that there is a constant slippage between the dramatic and the real, between the past and the present. In Chapter Five, I summarize the arguments advanced in previous chapters, using the example of the national museum of New Zealand, Te Papa Tongarewa, to illustrate that the �performance� of history has become part of popular culture. Like the interactive displays at Te Papa, the texts studied in this thesis demonstrate that dramatic representation has the potential to re-define perceptions of historical �reality�. With its superior capacity for creating illusion, film is a dynamic medium for exploring the imaginative process of history is that in the live performance the spectator symbolically comes into the presence of the past.
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Monaghan, Paul Edward. "Laying down the country : Norman B. Tindale and the linguistic construction of the North-West of South Australia / Paul Monaghan." Thesis, 2003. http://hdl.handle.net/2440/21991.

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"June 2003"
2 maps in pocket on back cover.
Bibliography: leaves 285-308.
xiv, 308 leaves : ill., maps ; 30 cm.
This thesis critically examines the processes involved in the construction of the linguistic historical record for the north-west region of South Australia. Focussing on the work of Norman B. Tindale, the thesis looks at the construction of Tindale's Pitjantjatjara, Yankunytjatjara and Antikirinya representations. It argues that Tindale effectively reduced a diversity of indigenous practices to ordered categories more reflective of Western and colonial concepts than indigenous views. Tindale did not consider linguistic criteria in depth, had few informants, worked within arbitary tribal boundaries, was biased towards the category 'Pitjantjatjara' and was informed by notions of racial/linguistic purity. These factors which shaped the linguistic record must be taken into account when interpreting records for use as historical and native Title evidence.
Thesis (Ph.D.)--University of Adelaide, School of European Studies and General Linguistics, 2003
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Books on the topic "Aboriginal Australians Historiography"

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The original Australians: Story of the Aboriginal people. Crows Nest, N.S.W: Allen & Unwin, 2006.

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Windschuttle, Keith. The fabrication of Aboriginal history. Sydney: Macleay, 2005.

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Windschuttle, Keith. The fabrication of Aboriginal history. Sydney: Macleay, 2002.

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Gurindji journey: A Japanese historian in the Outback. Honolulu: University of Hawaiʻi Press, 2011.

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Dawson, John G. Washout: The academic response to the debate over Aboriginal history. Sydney: Macleay Press, 2004.

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Tom, Griffiths. Frontier, race, nation: Henry Reynolds and Australian history. North Melbourne, Vic: Australian Scholarly Pub., 2009.

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Fighting words: Writing about race. Queensland, Australia: University of Queensland Press, 1999.

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Taylor, Penny. Telling it like it is: A guide to making Aboriginal and Torres Strait Islander history. Canberra, ACT: Aboriginal Studies Press for the Australian Institute of Aboriginal and Torres Strait Islander Studies, 1996.

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The invention of terra nullius: Historical and legal fictions on the foundation of Australia. Sydney, Australia: Macleay Press, 2005.

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Foster, Robert. Fatal collisions: The South Australian frontier and the violence of memory. Kent Town, S. Aust: Wakefield Press, 2001.

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Book chapters on the topic "Aboriginal Australians Historiography"

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Ward, Charlie. "The Aboriginal pastoral enterprise in self‑determination policy." In Indigenous Self-Determination in Australia: Histories and Historiography, 81–100. ANU Press, 2020. http://dx.doi.org/10.22459/isa.2020.03.

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Perheentupa, Johanna. "Taking control: Aboriginal organisations and self‑determination in Redfern in the 1970s." In Indigenous Self-Determination in Australia: Histories and Historiography, 189–207. ANU Press, 2020. http://dx.doi.org/10.22459/isa.2020.08.

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Casey, Maryrose. "Nuwhju and the Archive: Recuperating the History of Aboriginal Australian Performance Practice." In The Methuen Drama Handbook of Theatre History and Historiography. Methuen Drama, 2020. http://dx.doi.org/10.5040/9781350034327.0013.

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Haynes, Chris. "Self-determination in action: How John Hunter and Aboriginal people in Arnhem Land anticipated official policy in the late 1960s and early 1970s." In Indigenous Self-Determination in Australia: Histories and Historiography, 39–57. ANU Press, 2020. http://dx.doi.org/10.22459/isa.2020.01.

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