Dissertations / Theses on the topic 'Australian War Memorial'
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1
Styles, Catherine Anne, and castyles@ozemail com au. "An other place: the Australian War Memorial in a Freirean framework." The Australian National University. Centre for Women's Studies, 2001. http://thesis.anu.edu.au./public/adt-ANU20010904.111335.
Full textAbstract:
My thesis is that museum exhibitions developed according to Freirean praxis would constitute a better learning opportunity for visitors, facilitate the process of evaluation, and enact the favoured museum principles of dialogic communication and community-building.
¶This project constitutes a cross-fertilisation of adult education, cultural studies and museum practice. In the last few decades, museum professional practice has become increasingly well informed by cultural critique. Many museum institutions have been moved to commit to building communities, but the question of how to do so via exhibition spaces is yet to be squarely addressed by the museum field. In this thesis I produce a detailed evaluation of a museum's informal learning program; and demonstrate the potential value of adult education theory and practice for enacting museums' commitment to dialogic communication and community-building.
¶To investigate the value of adult education praxis for museums, I consider the Australian War Memorial's signifying practice - the site and its exhibitions - as a program for informal learning. I conduct my analysis according to Ira Shor's (Freirean) method for engaging students in an extraordinary re-experience of an ordinary object. Shor's program calls for students to investigate the object through three stages of description, diagnosis and reconstruction. Respectively, I testify to my initial experience of the Memorial's program as a visitor, analyse its signification in national, international and historical contexts, and imagine an alternative means of signifying Australia's war memory. The resulting account constitutes a record of my learning process and a critical and constructive evaluation of the Memorial as a site for informal learning. It provides a single vision of what the Memorial is, what it means and how it could be reconstructed. But more importantly, my account demonstrates a program for simultaneously learning from the museum and learning about its signifying practice. This dual educational and evaluative method would mutually advantage a museum and its visiting public. In a museum that hosted a dialogic program, the exhibitions would invite evaluative responses that staff are otherwise at pains to generate. Concurrently, visitors would benefit because they would be engaging in a more critical and constructive learning process. In addition, the museum would be enacting the principle of dialogic communication that underpins the project of community-building.
2
Melrose, Craig. ""A praise that never ages" : the Australian War Memorial and the "national" interpretation of the First World War, 1922-35 /." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18466.pdf.
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3
Scheib, Michael. "Painting Anzac: a history of Australia’s official war art scheme of the First World War." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13139.
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This history of Australia’s official war art scheme of the First World War examines the processes by which its part in the conflict was given pictorial form as part of an official and publicly funded project of nation-building – the project of the official representation of Anzac – which involved representing Anzac in a written history, pictures, photographs, trophies, relics, models and sculptures, and as a national war museum. Conceived during the war by Charles Bean, Australia’s official war correspondent and historian, the object of this project was to construct a story of Australia’s part in the war – the Anzac story – to be told for posterity in a national war museum erected in the nation’s capital as a monument to the AIF, ultimately the Australian War Memorial. The story he constructed told of the arrival on the world stage of a young nation through its supreme military performance and of the forging of a military tradition known as Anzac. While Bean’s involvement in creating the Anzac legend is universally acknowledged, his role in constructing the official version of it has not been recognised. This history fills that gap in knowledge. Revering Britain’s military tradition and inculcated in the forms in which it was represented, Bean resolved to represent the Anzac story identically. Its tradition was represented pictorially by battle pictures, military scenes and portraits. The official war art scheme produced pictures made at the front, large historical pictures which illustrated the Anzac story, and portraits of its principal actors. This history shows how Bean exercised control over the scheme to create an image of Anzac that reflected his conception of it; to ensure that the Anzac story was illustrated as he wished it told for posterity; to promote the idea that Anzac was a military tradition which stood alongside the great traditions of other nations; and to promote the idea that Australia’s future nationality should be defined by that tradition.
4
Schulz, Karin Hildegard, and n/a. "An internship in textile conservation : July-September 1983 Australian War Memorial, Jun-August 1984 the Abegg Stiftung." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061107.174002.
Full textAbstract:
The dissertation is divided into four sections. The
first deals with the work experience gained at the Australian War Memorial, followed by that gained at the Abegg Stiftung.
Observations on visits to other conservation laboratories and
a report on the two international conferences attended, complete
sections three and four.
Work experience at the Australian War Memorial Textile
conservation laboratory involved spending time in assisting
with ongoing programs, conservation treatments carried out
with supervision, as well as research. The time was divided
so that all areas received equal emphasis. Ongoing programs
involved the uniform inspections program and the display
maintenance program. The involvement with routine tasks
of surface cleaning, and with preparation for storage or
display, with both programs, is not detailed in the dissertation.
Nor can the dissertation include all the treatments of objects.
Reference may be made for details on these treatments, to
Australian War Memorial Conservation records for objects with
the following accession numbers: AWM 1102,/5947,/10487,
AWM 7919. However, two treatment reports are included. These
are for a pair of flying boots worn by the Baron von Richthofen,
and for an embroidered silk souvenir. The boots, now on
permanent display were conserved with attention given to the need
to preserve historical evidence, the choice of materials used for
repair and requirements of display. The silk textile treatment
took into consideration the benefits and risks involved in removing
a deteriorated backing and relining a silk which was extremely
embrittled. In the process it was realised that a facing might
give stability to such a deteriorated silk; however, an
initial study of facing materials and methods was required and
was therefore undertaken and reported on in the dissertation.
Whilst inspecting items in the relics collection of the Australian
War Memorial a number of rubberised fabrics and other rubber materials
were observed to show problems such as hardening, embrittlement,
deformation, tackiness or discolouration. It was found that no
information had been published on the treatment and
preservation of such materials in the conservation
literature. A survey on rubber deterioration and
preservation literature since 1900 is included in the
dissertation.
The function, facilities and equipment of the
textile conservation department of the Australian War
Memorial are described as well as the storage of relics
and uniforms.
Work experience at the Abegg Stiftung involved
assisting with group projects in most instances as well as
working independently with supervision. It was therefore
decided to report in general on the types of treatment given
and give a brief account of the experience and skills gained.
An example of a treatment report as was required for the Abegg
Stiftung records is included as well as an example of detailed
personal notes on the progress and treatment of a 15th century
silk chasuble.
The Abegg Stiftung is recognised as one of the foremost
training centres in textile conservation in Europe. This led
me to consider here the benefits and possible limitations of the
program from the impressions gained during the three months
work experience at the Institute.
Round table discussions were held by Mechthilde Flury-
Lehmburg which served to raise questions for discussion by
textile conservation students and staff. This also permitted
a concensus to be reached when items of a complex nature were
to be conserved. A record of such a discussion is annexed.
The Library of the Institute was frequently consulted by
historians, as it specialises in textile conservation literature
and many languages are represented, German being predominant.
This library was consulted on German literature on textile
conservation, and a brief guide to sources is included.
Visits were made to a number of textile conservation
laboratories in Europe. It was possible as a result of these
visits to evaluate various types of equipment which are used
for textile conservation. It was seen that although much
skilful work was being done, especially in laboratories where
more conservative treatments were preferred, there were a
number of questions which were raised and remained unanswered.
Subjects discussed and research undertaken are reported.
The 1IC and ICOM conferences attended, introduced me to
international cooperation and activity in conservation research
and setting of standards. Information found to be relevant to
progress in textile conservation research and related materials
is summarised here.
5
Regan, Patrick Michael Humanities & Social Sciences Australian Defence Force Academy UNSW. "Neglected Australians : prisoners of war from the Western Front, 1916-1918." Awarded by:University of New South Wales - Australian Defence Force Academy. School of Humanities and Social Sciences, 2005. http://handle.unsw.edu.au/1959.4/38686.
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About 3850 men of the First Australian Imperial Force were captured on the Western Front in France and Belgium between April 1916 and November 1918. They were mentioned only briefly in the volumes of the Official Histories, and have been overlooked in many subsequent works on Australia and the First World War. Material in the Australian War Memorial has been used to address aspects of the experiences of these neglected men, in particular the Statements that some of them completed after their release This thesis will investigate how their experiences ran counter to the narratives of CEW Bean and others, and seeks to give them their place in Australia???s Twentieth Century experience of war.
6
Lovric, Ivo Mark. "Ghost Wars : the Politics of War Commemoration." Phd thesis, Canberra, ACT : The Australian National University, 2011. http://hdl.handle.net/1885/150317.
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Ghost Wars: the politics of war commemoration: research into dissenting views to war and other aspects of the Australian experience of war that are marginalised by the Australian War Memorial. A study taking the form of an exhibition of a filmic (video) essay, which comprises the outcome of the Studio Practice component, together with the Exegesis which documents the nature of the course of study undertaken, and the Dissertation, which comprises 33% of the Thesis.
7
Pavils, J. G. "ANZAC culture : a South Australian case study of Australian identity and commemoration of war dead /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09php3382.pdf.
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8
Smith, Matthew Stuart. "The relationship between Australians and the overseas graves of the First World War." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/38655/1/Matthew_Smith_Thesis.pdf.
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The purpose of this thesis is to outline the relationship that existed in the past and exists in the present, between Australians and the War Graves and Memorials to the Missing. commemorations of Australians who died during the First World War. Their final resting places are scattered all over the world and provide a tangible record of the sacrifice of men and women in the war, and represent the final result by Official Agencies such as the Imperial, and later, Commonwealth War Graves Commission, and its agency representative, the Office of Australian War Graves, of an attempt to appropriately commemorate them. The study follows the path of history from the event of death of an individual in the First World War, through their burial; temporary grave or memorial commemoration; the permanent commemoration; the family and public reaction to the deaths; how the Official Agencies of related Commonwealth Governments dealt with the dead; and finally, how the Australian dead are represented on the battlefields of the world in the 21st century. Australia.s war dead of the First World War are scattered around the globe in more than 40 countries and are represented in war cemeteries and civil cemeteries; and listed on large „Memorials to the Missing., which commemorate the individuals devoid of a known graves or final resting place.
9
Davis, George Frederick, and n/a. "Anzac Day meanings and memories : New Zealand, Australian and Turkish perspectives on a day of commemoration in the twentieth century." University of Otago. Department of History, 2009. http://adt.otago.ac.nz./public/adt-NZDU20090519.163222.
Full textAbstract:
This study examines the changing perceptions of Anzac Day in New Zealand, Australia and Turkey in the twentieth century. Changing interpretations of Anzac Day reflect social and political changes in the nations over that time.
Anzac Day is an annual commemoration which has profound significance in the Australian and New Zealand social landscape. It has undergone significant changes of meaning since it began, and may be regarded as being an example of the changeable script of memory. The thesis argues that memory and landscape intersect to influence the way commemorative gestures are interpreted. Personal and community memories are fluid, influenced by the current historical landscape. This means that each successive Anzac Day can have different connotations. The public perception of these connotations is traced for each of New Zealand, Australia and Turkey.
Anzac Day reflects the forces at work in the current historical landscape. Within that landscape it has different meanings and also functions as an arena for individual and community agency. On Anzac Day there are parades and services which constitute a public theatre where communities validate military service. Individual and communal feats are held high and an ethic or myth is placed as a model within the social fabric. Anzac Day is contested and reflects tides of opinion about war and society and the role of women. It is also the locale of quiet, personal contemplation, where central family attachments to the loved and lost and the debt owed by civilian communities to the military are expressed. Generational change has redefined its meanings and functions.
Anzac Day was shaped in a contemporary historical landscape. It reflected multi-national perspectives within British Empire and Commonwealth countries and Turkey. For Turkey the day represented a developing friendship with former foes and was couched within Onsekiz Mart Zaferi, a celebration of the Çanakkale Savaşlari 1915 victory in the Dardanelles campaign. As Anzac Day evolved, Turkey, the host country for New Zealand and Australian pilgrims, became the focus of world attention on the day. Gallipoli is now universally recognised as the international shrine for Anzac Day.
10
Taylor, John J. "Joseph John Talbot Hobbs (1864-1938) : and his Australian-English architecture." University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2010. http://theses.library.uwa.edu.au/adt-WU2010.0100.
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Architect and soldier Sir J.J. Talbot Hobbs was born on 24 August 1864 in London. After migrating from England to Western Australia in the late 1880s, Hobbs designed many buildings that were constructed in Perth, Fremantle, and regional areas of the State. Although Talbot Hobbs has previously been recognised as a significant and influential contributor to architecture in Australia, his development as an architect has not been documented, nor has his design output undergone critical analysis. A number of problems confront attempts to interpret Hobbs' contribution to architecture. One is that a number of his most prominent building designs have been demolished. Another is that national recognition for his achievements as a First World War Army General have overshadowed his extraordinarily productive pre and post-war career as an architect. Military service was intrinsic to his character, and thus is woven in to this architectural biography. The thesis examines Hobbs' life and work, filling the gap in documented evidence of his contributions, and fitting it within the context of Australian architectural and social history. The main proposition to be tested is whether Hobbs' Australian architecture, of English derivation, combined with vast community service, warrants his recognition as an architect and citizen of national significance. Completely new important issues, information, discussion and facts that have resulted from the research for this thesis are: 1. Biographical knowledge about Hobbs' life including his upbringing, education and training in England, and his fifty years of comprehensive work and community service in and for Australia; 2. The elucidation of the late nineteenth and early twentieth century architectural issues that were relevant to Hobbs and other architects in Western Australia; 3. Examination of the important works of Hobbs' architect predecessors and contemporaries in Perth, and the setting of his own work within this context; 4. Revelation of his primary and pivotal role in war memorial design and organisational work for the far-flung theatres of Australian Army conflicts and selected personal design works within Australia itself during 1919-38; and 5. A chronology and summary of Hobbs' life, with thorough documentation of his output as a sole practitioner in the period 1887-1904 by development of a detailed web-based database - an extremely valuable tool for future researchers.
11
Styles, Catherine Anne. "An other place: the Australian War Memorial in a Freirean framework." Phd thesis, 2001. http://hdl.handle.net/1885/48203.
Full textAbstract:
My thesis is that museum exhibitions developed according to Freirean praxis would constitute a better learning opportunity for visitors, facilitate the process of evaluation, and enact the favoured museum principles of dialogic communication and community-building. ¶ This project constitutes a cross-fertilisation of adult education, cultural studies and museum practice. In the last few decades, museum professional practice has become increasingly well informed by cultural critique. Many museum institutions have been moved to commit to building communities, but the question of how to do so via exhibition spaces is yet to be squarely addressed by the museum field. In this thesis I produce a detailed evaluation of a museum's informal learning program; and demonstrate the potential value of adult education theory and practice for enacting museums' commitment to dialogic communication and community-building. ¶ To investigate the value of adult education praxis for museums, I consider the Australian War Memorial's signifying practice - the site and its exhibitions - as a program for informal learning. ...
12
Henderson, Priscilla H. "The Shellal Mosaic in the Australian War Memorial : style and imagery." Thesis, 1985. http://hdl.handle.net/1885/133638.
Full textAbstract:
The so-called "Shellal mosaic", at the Australian War
Memorial, Canberra, is the floor of a sixth century, Byzantine
church, discovered in the western Negev area of what is
Israel.
It is one of many such mosaic pavements dating from the
fourth to the sixth century A.D, scattered around the
Mediterranean area. A large concentration of such pavements,
bearing very similar designs of birds and animals on a ground of
a vine trellis issuing from an amphora,
are found in Palestine.
These all be dated, by inscription or by archaeological
can
means, to within the early Byzantine period, between about 515
and 575 A.D. Many fall directly within the period of rule of
Justinian (527-565 A.D): the Shellal floor, dated to 561-2, is
one of these. The fact that almost identical designs are found
in early Christian churches, as well as in synagogues and private
houses, raises the question as to whether they carry iconographic
meaning or whether they are purely decorative continuations of
earlier pagan artistic tradition.
13
McKinnon, Alexandra. "Hereafter: Memory, Commemoration, and the Great War at the Australian War Memorial in the Interwar Period." Master's thesis, 2020. http://hdl.handle.net/1885/216074.
Full textAbstract:
This thesis considers how families engaged with memory-making and with the state in the aftermath of the Great War, focusing on engagement between Australian families and the Australian War Memorial in the interwar period.
In Australia, the process of writing the official histories of the Great War began soon after the Armistice, drawing from the letters, diaries, and documents of those who had experienced the conflict. From 1927 to the mid-1930s, the Memorial actively reached out to families whom it was believed might hold records of use to this work. This thesis is based in the archives of the Memorial, and is focused on the records of correspondence between families and the institution in response to this request for donations. 2454 enquiries were directed to the next-of-kin of war dead. While most of the recipients of these donation requests had no direct experience of the conflict, they remained profoundly affected by its results.
This series of communication presents a body of work that explores the process of transition from "memory" to "history", incorporating archival histories, memory studies, and material culture. This research considers the role of this file series as an archival resource, but also as testimony to the generational impact of loss. Respondents were conscious that donated records would continue to be used by future generations after the conflict had left living memory. Many of those contacted failed to respond, or declined to donate, but their influence lingers in the spaces of the Memorial. The experiences of these families are embedded in the histories produced by the Memorial, and are crucial to understanding how commemoration of the Great War in Australia has evolved.
14
Bowker, Samuel Robert Athol. "Their war and mine : the use of self-portraiture in Australian war art." Phd thesis, 2010. http://hdl.handle.net/1885/150698.
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15
Walton, Alexandra. "Bold Impressions: A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War Memorial." Phd thesis, 2017. http://hdl.handle.net/1885/154283.
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This thesis examines the historical development of the artist
print collections of the Imperial War Museum and Australian War
Memorial, and analyses the relationship of these collections to
their institutions. Printmaking is an artistic medium that has
historically been used by artists for social critique, and many
high quality works of this type are present in the two
collections. I argue that in both museums, when developing the
print collections, curators were able to acquire beyond the
strict interpretation of the museums’ collecting guidelines. As
a result of this, the prints have challenged some of the more
conservative underlying messages of the museums.
National war museums are ideal for a study of contested
histories, particularly those within their own collections, and
the IWM and AWM are prominent institutions in this specialist
category of museums. My hypothesis is that prints can destabilize
the histories that war museums wish to present due to their
historical use by artists for a variety of purposes that are
somewhat unique to the medium. This is driven by the materiality
of the print. This study also analyses how museum structures and
internal cultures affected the development of the print
collections. In particular, I have tried to answer the questions:
What factors influenced the development of the print collections?
And how did the professional agendas of curators inform that
development? Print collecting flourished at key points in the
histories of the institutions, particularly when fine art
specialists were in charge of acquisitions. While print
collecting broadly reflected the aims of the institutions at
different times, on occasion it introduced divergent narratives
into the war museums.
This thesis is interdisciplinary in the way it uses a history
methodology and museum studies framework. The historical research
methods employed include archival research and semi-structured
interviews with selected former and current museum staff. My
research will add to academic and curatorial knowledge about how
collections are formed in large national museums, and analyse the
role and significance of two collections that have not previously
been thoroughly examined. The thesis places the curator as the
creator of the collection, not merely as someone who carries out
instructions from management, but who negotiates between the
institutional forces, social forces and the nature of the
objects, to ultimately shape the collection.
16
Nay, MW. "Re-envisioning the master narrative of Anzac : a painterly investigation of memory and memorialising of the Great War at the Australian War Memorial." Thesis, 2021. https://eprints.utas.edu.au/45551/1/Nay_whole_thesis.pdf.
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This project has used painting to respond to the representation of World War One (WW1) in the Centenary Exhibition of Anzac (CE of A) at the Australian War Memorial (AWM). Research has interrogated how painting can be utilised to augment and enrich understanding of the complex relationships between private and public memorialising beyond that already present in the AWM. Australian academic and military historian Gregory Pemberton argues that the celebration of war and military heroism lies at the core of the legitimising rituals of the modern nation-state. Conceived in battle, the so-called ‘Anzac myth’ is an enduring narrative promulgated by the AWM, often promoting national interest. This project, however, argues that ‘Anzac’ is indefinable, capricious, and in a constant state of change.
Driven by familial connections, this project has explored the concepts of intergenerational trauma and post-memory, resulting in a suite of works that demonstrate how painting can be used to create alternative narratives about the ‘Great War’ (GW). Key sources of imagery include objects and narrative themes used in the AWM, combined with family artefacts. The resulting paintings used collage, pastiche and allegory to evoke the complexities of private and personal understanding of the Great War. The imagery is fractured and overlapping, in contrast to the linear, chronological narrative of the CE of A, addressing the simultaneous continuance of competing interpretations of history that change as time progresses. This strategy—facilitated by identifying narrative voids and understatements in the curatorial styling of the CE of A—allowed for the inclusion of service narratives of soldiers like my grandfather, a casualty-survivor, and my great uncle, killed in action and having no known grave.
The project was informed by the writing of Lisa Saltzman, Marion Hirsch and Joan Gibbons, who provided insight into contemporary art practices that reference trauma, post-memory and the indexical. Throughout the project I have referred to contemporary Anzac historians Carolyn Holbrook and Marilyn Lake for their contesting of the Anzac legend. Frederic Jameson, Craig Owens and Roland Barthes were instrumental in informing the use of allegory and pastiche as key strategies for the paintings, while William Dunning’s historical overview of changes in pictorial space proved an important text for its discussion of painting’s transition from modernism to post-modernism.
The research draws from and contributes to the field of modernist and contemporary war art. It has examined the themes of violence against the mind and body, and its impact on the witness soldiers, and the generations affected by post-memory trauma as a result of the Great War, specifically as represented in the work of Otto Dix, George Lambert, and Stanley Spencer. It references artists whose work explores post-generational trauma in private and public memory and historiographic metafiction, with a specific focus on Paul Gross, Christian Boltanski, Kader Attia and Koken Ergun. Painters for whom collage is a key pictorial strategy, such as Ron Kitaj, Kai Althoff and Helen Johnson, are also discussed. The work of Australian contemporary painter Ben Quilty, witness to war through the AWM’s Official War Art Scheme, provided a diametric contemporary fillip for the research aims.
The outcome of the research is a series of paintings that utilise the unsettling familial witness stories of this war through collage, pastiche and allegory. The research employed specific picturing methodologies developed to address the impact of the GW on current generations. This contribution to the field of Australian war painting submits alternative narratives that restate the power of allegory in the production of painting, problematising the complex nature of intergenerational trauma. The subjective memory traces of the GW considered in this research do not deal with direct experience exclusively. By connecting alternative stories of Anzac to those promulgated by the master narrative (of Anzac), this investigation aimed to visualise narratives which capture the experience of the centenary moment. The final paintings entreat the regeneration of memory to remain relevant and to broaden the meaning of Anzac in Australia’s post-memory culture. As a consequence, the submitted works contrast with the fixed, immutable histories of Official War Art painting of the GW, and offer alternative representations about the GW to those depicted in current representations.
17
Armstrong, Laura. "Ms Memorial Maker: the engagement of female memorial makers with the dominant narrative of war in Australia's war memorial landscape." Phd thesis, 2021. http://hdl.handle.net/1885/231177.
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In the one hundred years since the Great War, Australia's war memorial landscape has been dominated by a single narrative: the Anzac myth. Anzac, named for the Australian and New Zealand Army Corps, has taken on meaning outside of this acronym, to encompass the whole masculine culture of war memory in Australia. This narrative has largely excluded the experiences of everyone who is not a white man of British descent. This domination has extended to the designing and making of the war memorials that crowd the Australian landscape. But women have been memorialised, and war memorials designed by women do exist, although they have been eclipsed by the masculine nature of Anzac.
Drawing on research gathered through the methods of archival research and document analysis, site visits and observation, and in-depth, semi-structured interviews, this thesis uncovers memorials designed by women and assesses the ways in which their makers have engaged with the Anzac myth, in creating memorials that are to men and to women. The focus is on Australian women, but comparisons are provided with New Zealand and Canada, and with some male memorial makers.
I argue that women working in this space have both reinforced the stereotypes of heroic, matey men and grief-stricken, emotional women and pushed the boundaries of these stereotypes associated with the narrative templates that frame it. This pushing of boundaries is most readily seen in Margaret Baskerville's Edith Cavell Memorial, one of the few public sculptures in the Australian landscape that celebrates the achievements of individual women.
Furthermore, this thesis argues that only in singling out these women and their work is it possible to give them the examination and recognition required to form a more inclusive and critical interpretation of war experience and its related culture in Australia.
18
Bormanis, Katrina D. "The Monumental Landscape: Canadian, Newfoundland, and Australian Great War Capital and Battlefield Memorials and the Topography of National Remembrance." Thesis, 2010. http://spectrum.library.concordia.ca/7386/1/Bormanis_PhD_S2011.pdf.
Full textAbstract:
The extinguishment of the living memory of the Great War (1914-1918) does not herald the expiration of its cultural memory. Rather, the Canadian, Newfoundland, and Australian cultural memory of the Great War remains both resonant and renewed in the present. Its public persistence and perpetuation is physical and performative alike. Firstly, this is exemplified by the continued custodial care of Canada’s, Newfoundland’s, and Australia’s national war memorials, domestically and abroad (former Western Front). Secondly, it is signalled by the perennial remembrance rituals enacted at these sites each Anzac (25 April, Australia), Memorial (1 July, Newfoundland), and Remembrance (11 November) Day. This thesis, which compares and contrasts the ongoing histories of Canada’s, Newfoundland’s, and Australia’s national (capital and battlefield) Great War memorials, plumbs this phenomenon.
Chapter One charts the erection of battlefield memorials in France to the Newfoundland, Canadian, and Australian 1914-1918 dead and missing. I argue that the Beaumont-Hamel (1925, Newfoundland), Vimy (1936, Canada), and Villers-Bretonneux (1938, Australia) memorials sanctified their sites, according to the criteria cultural geographer Kenneth Foote has established, becoming what he terms “fields of care.”
Chapter Two chronicles the construction of three capital monuments: the St. John’s National War Memorial (1924), the Ottawa National War Memorial (1939), and the Canberra Australian War Memorial (1941). Post-unveiling, all three of these national memorials, I explain, have been subject to a process that Owen Dwyer characterizes as symbolic accretion, which results in the placement of add-ons (plaques and wreaths) to these structures, as well as context-specific enactments within their space (commemorative ceremonies and protests). These symbolic accretions (allied and antithetical) underscore how memorials and their spaces always attract the attachment (literal and figurative) of new, if never static, meanings.
In Chapter Three, I explore the pilgrimage and battlefield tourism histories of the Beaumont-Hamel, Vimy, and Villers-Bretonneux memorial sites, providing extended accounts and analyses of the pilgrimages mounted to mark the unveiling (1936) and the rededication (2007) of the Vimy memorial.
In Chapter Four, I interrogate the process, politics, and potent symbolism surrounding the recent entombment of the remains of an Australian and Canadian Unknown Soldier of the Great War in Canberra (1993) and Ottawa (2000). The resultant tombs, I argue, function as allied accretions to the Australian War Memorial’s Hall of Memory and the National War Memorial.
19
Caines, Rachel Brigitte. "“Their Glory Shall Not Be Blotted Out”: The Acknowledgement of Indigenous First World War Service in Australian and New Zealand National Commemorations, 1918-2019." Thesis, 2020. http://hdl.handle.net/2440/125939.
Full textAbstract:
This thesis explores the extent to which Indigenous Australian and Māori First World War service has been acknowledged in national sites of commemoration in Australia and New Zealand over the past century. Between 1918 and 2019, the national commemorative landscapes in Australia and New Zealand evolved to accommodate changing national values and priorities. The thesis argues that the development of different Indigenous-non-Indigenous race relations in Australia and New Zealand ultimately informed the extent to which Indigenous First World War service was acknowledged at a national level. In New Zealand, some Pākehā acceptance of Māori society and culture at the outbreak of the First World War facilitated the active involvement of Māori in the conflict. As this limited acceptance developed into an official policy of biculturalism (albeit in an asymmetrical form), the acknowledgement of Māori war service was increasingly incorporated into mainstream national sites of commemoration. In Australia, by 1914 a broad national policy of exclusion and isolation of Indigenous Australians resulted in governmental restriction surrounding their participation in the First World War. Although official national attitudes towards Indigenous Australians changed with social and political developments from the 1960s onwards, by the beginning of the twenty-first century Australia’s race relations with its Indigenous peoples remained strained and unresolved. The lack of a clear “bicultural” policy with regards to the inclusion, recognition, and representation of Indigenous Australians restricted the extent to which their First World War service has been acknowledged at a national level. While historians have increasingly explored aspects of Indigenous Australian and Māori participation in the First World War and their subsequent inclusion in commemorations of conflict, the field remains small. In particular, comparisons between the two countries remain unusual, despite the inherently comparative nature of their First World War commemorations. By adopting a comparative approach, this thesis breaks new ground and provides a thorough discussion of the extent structural and institutional policies regarding race-relations have impacted the commemoration of Indigenous Australians. This thesis utilises a range of material, including military personnel files, committee minutes, floorplans, ephemera, newspaper articles, interviews with museum professionals, and the physical sites of commemoration themselves. Following the Introduction, Chapter I provides an overview of the extent of Indigenous Australian and Māori participation on the war. In particular, it focuses on the ways in which official national policies regarding Indigenous war service evolved between 1914 and 1918, and the way these policies impacted the nature of Indigenous participation in the conflict. Chapters II through IV then examine how Indigenous war service has been acknowledged in the key sites of commemoration in Australia and New Zealand: days of remembrance (II), war memorials (III), and war museums (IV). The thesis concludes with a discussion of the importance of Australia and New Zealand’s differing policies towards their Indigenous populations in shaping the ways in which Indigenous war service has been acknowledged at a national level. It also shows why the findings of this thesis are relevant beyond the end of the First World War centenary.Thesis (MPhil) -- University of Adelaide, School of Humanities, 2020
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Pavils, Janice Gwenllian. "ANZAC culture : a South Australian case study of Australian identity and commemoration of war dead / Janice Gwenllian Pavils." 2004. http://hdl.handle.net/2440/22186.
Full textAbstract:
"December 2004"Bibliography: leaves 390-420.
vii, 420 leaves : ill., maps, photos. (col.) ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Thesis (Ph.D.)--University of Adelaide, School of History and Politics, Discipline of History, 2005
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Pavils, Janice Gwenllian. "ANZAC culture : a South Australian case study of Australian identity and commemoration of war dead / Janice Gwenllian Pavils." Thesis, 2004. http://hdl.handle.net/2440/22186.
Full textAbstract:
"December 2004"Bibliography: leaves 390-420.
vii, 420 leaves : ill., maps, photos. (col.) ; 30 cm.
Thesis (Ph.D.)--University of Adelaide, School of History and Politics, Discipline of History, 2005
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Hollow, Rosemary. "How nations mourn:the memorialisation and management of contemporary atrocity sites." Phd thesis, 2010. http://hdl.handle.net/1885/105353.
Full textAbstract:
Terrorism and atrocities have scarred the public memory in the
late twentieth and early twenty-first centuries. Three
atrocities, the 1995 Oklahoma City bombing, the 1996 massacre at
Port Arthur Historic Site in Tasmania, Australia, and the 2002
Bali bombings, had a significant impact on the communities they
most affected. How did the differing governments and communities
at these sites respond to the sudden loss of life? How were the
competing agendas of these groups managed ? Are there shared and
distinctive characteristics in the memorialisation of atrocitites
across these countries at the turn of the millenium?
In responding to these questions, this study analyses cultural
differences in memorialisation at contemporary atrocity sites. It
examines the differing responses at the case study sites to the
planning and the timing of memorials, the engagement of those
affected, the memorial designs and the management of the
memorials, including tributes. It is an original comparative
study of contemporary memorialisation by a heritage professional
directly involved in the management of memorials at contemporary
atrocity sites.
The original research includes the identification of the role the
internet in contemporary memorialisation, an in-depth analysis of
the memorialisation of the 1996 massacre at Port Arthur Historic
Site, and the memorialisation in Bali and across Australia of the
2002 Bali bombings. It extends the current scholarship on the
memorialisation of the Oklahoma City bombing through identifying
the impact of the internet in the memorialisation and in the
timeframe of the analysis through to the 15th anniversary in
2010. The comparative analysis of the management of tributes at
all the sites identified issues not previously considered in
Australian scholarship: that tributes and the response to them
is part of the memorialisation and management of contemporary
atrocity sites.
A combined research method based on an interpretive social
science approach was adopted. A range of methodogies were used,
including literature reviews, analysis of electronic material,
site visits, unstructured in-depth interviews, and
participant-observation at memorial services. Studies on history,
memory and memorialisation provided the framework for my analysis
and led to an original proposal, that all three sites have shared
histories of the memorialisation of war and ‘missing’
memorialisation. These shared histories, I argue, strengthened
the justification for this comparative study.
This comparative study identified differences across the case
study countries in the designs of the built memorials, in
legislation enacted after the atrocities, the responses to the
perpetrators, the marking of anniversaries, and in the management
of tributes left at the sites. These differences highlight the
cultural divide that exists in contemporary memorialisation.
Issues identified for future research include the impact of the
internet and electronic social networking sites on
memorialisation, and how these sites will be captured and stored
for future heritage professionals and researchers. Scope also
exists for further comparative global studies: on legislative
responses to contemporary atrocities, and on the differing
responses of communities and governments to tributes, including
teddy bears and T-shirts, left at memorials and contemporary
atrocity sites.
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Hodges, Ian Leslie. "'He belonged to Wagga': The Great War, the AIF and returned soldiers in an Australian country town." Phd thesis, 2017. http://hdl.handle.net/1885/131446.
Full textAbstract:
This thesis follows the First World War generation from the Wagga
Wagga district in southern New South Wales through the late
nineteenth century to the mid-1930s. The environment in which
Wagga’s soldiers grew up, their months or years in the army and
their lives as returned men touch on the war’s most enduring
themes.
Wagga’s volunteers were the country men of AIF lore. Yet many
earned their living in the same professions and occupations as
city dwellers. While those who laboured on farms or worked as
tradesmen might have been the bush men described by
contemporaries like Charles Bean, a significant proportion of
Wagga’s soldiers were not. Many of the local men who survived
the war were profoundly affected. Some never recovered. But the
evidence also indicates the breadth of returned soldiers’
involvement in the community. As well as the unemployed, the
destitute, those who needed constant care and those who turned to
crime, there were veterans who had jobs and families and managed
to live what could be considered normal lives.
Local war veterans who succeeded in business or politics, or who
were active in community organisations, feature heavily in
Wagga’s civic record, but most of the district’s returned men
appear only fleetingly. While little of their personal and
family lives can be gleaned from these sources, this absence is
balanced by the often detailed and sometimes first-hand accounts
of individuals’ circumstances in Repatriation Department files.
Although these voluminous records are becoming better known they
have not previously been used to inform an in-depth study of a
single locale’s returned soldiers.
The Government and civic records on Wagga combine to reveal the
nuances that underlie the broader national story of the war and
the AIF. On many important themes the district’s example
suggests both the truth behind commonly accepted views and the
extent to which they obscure a more complex reality.