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Journal articles on the topic 'Australian War Memorial'

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Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Zernetska, O., and O. Myronchuk. "Historical Memory and Practices of Monumental Commemoration of World War I in Australia (Part 1)." Problems of World History, no. 12 (September 29, 2020): 208–24. http://dx.doi.org/10.46869/2707-6776-2020-12-11.

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The authors’ research attention is focused on the specifics of the Australian memorial practices dedicated to the World War I. The statement is substantiated that in the Australian context memorials and military monuments formed a special post-war and post-traumatic part of the visual memory of the first Australian global military conflict. The features of the Australian memorial concept are clarified, the social function of the monuments and their important role in the psychological overcoming of the trauma and bitter losses experienced are noted. The multifaceted aspects of visualization of the monumental memory of the World War I in Australia are analyzed. Monuments and memorials are an important part of Australia’s visual heritage. It is concluded that each Australian State has developed its own concept of memory, embodied in various types and nature of monuments. The main ones are analyzed in detail: Shrine of Remembrance in Melbourne (1928–1934); Australian War Memorial in Canberra (1941); Sydney Cenotaph (1927-1929) and Anzac Memorial in Sydney (1934); Desert Mounted Corps Memorial in Western Australia (1932); Victoria Memorials: Avenue of Honour and Victory Arch in Ballarat (1917-1919), Australian Ex-Prisoners of War Memorial (2004), Great Ocean Road – the longest nationwide memorial (1919-1932); Hobart War Memorial in the Australian State of Tasmania (1925), as well as Villers-Bretonneux Australian National Memorial in France dedicated to French-Australian cooperation during the World War I (1938). The authors demonstrate an inseparable connection between the commemorative practices of Australia and the politics of national identity, explore the trends in the creation and development of memorial practices. It is noted that the overwhelming majority of memorial sites are based on the clearly expressed function of a place of memory, a place of mourning and commemoration. It was found that the representation of the memorial policy of the memory of Australia in the first post-war years was implemented at the beginning at the local level and was partially influenced by British memorial practices, transforming over time into a nationwide cultural resource.

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2

Zernetska, O., and O. Myronchuk. "Historical Memory and Practices of Monumental Commemoration of World War I in Australia (Part 2)." Problems of World History, no. 13 (March 18, 2021): 203–21. http://dx.doi.org/10.46869/2707-6776-2021-13-10.

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The authors’ research attention is focused on the specifics of the Australian memorial practices dedicated to the World War I. The statement is substantiated that in the Australian context memorials and military monuments formed a special post-war and post-traumatic part of the visual memory of the first Australian global military conflict. The features of the Australian memorial concept are clarified, the social function of the monuments and their important role in the psychological overcoming of the trauma and bitter losses experienced are noted. The multifaceted aspects of visualization of the monumental memory of the World War I in Australia are analyzed. Monuments and memorials are an important part of Australia’s visual heritage. It is concluded that each Australian State has developed its own concept of memory, embodied in various types and nature of monuments. The main ones are analyzed in detail: Shrine of Remembrance in Melbourne (1928–1934); Australian War Memorial in Canberra (1941); Sydney Cenotaph (1927-1929) and Anzac Memorial in Sydney (1934); Desert Mounted Corps Memorial in Western Australia (1932); Victoria Memorials: Avenue of Honour and Victory Arch in Ballarat (1917-1919), Australian Ex-Prisoners of War Memorial (2004), Great Ocean Road – the longest nationwide memorial (1919-1932); Hobart War Memorial in the Australian State of Tasmania (1925), as well as Villers-Bretonneux Australian National Memorial in France dedicated to French-Australian cooperation during the World War I (1938). The authors demonstrate an inseparable connection between the commemorative practices of Australia and the politics of national identity, explore the trends in the creation and development of memorial practices. It is noted that the overwhelming majority of memorial sites are based on the clearly expressed function of a place of memory, a place of mourning and commemoration. It was found that the representation of the memorial policy of the memory of Australia in the first post-war years was implemented at the beginning at the local level and was partially influenced by British memorial practices, transforming over time into a nationwide cultural resource.

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3

Bedford, Alison, Richard Gehrmann, Martin Kerby, and Margaret Baguley. "Conflict and the Australian commemorative landscape." Historical Encounters: A journal of historical consciousness, historical cultures, and history education 8, no. 3 (December 22, 2021): 13–26. http://dx.doi.org/10.52289/hej8.302.

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Australian war memorials have changed over time to reflect community sentiments and altered expectations for how a memorial should look and what it should commemorate. The monolith or cenotaph popular after the Great War has given way to other forms of contemporary memorialisation including civic, counter or anti-memorials or monuments. Contemporary memorials and monuments now also attempt to capture the voices of marginalised groups affected by trauma or conflict. In contrast, Great War memorials were often exclusionary, sexist and driven by a nation building agenda. Both the visibility and contestability of how a country such as Australia pursues public commemoration offers rich insights into the increasingly widespread efforts to construct an inclusive identity which moves beyond the cult of the warrior and the positioning of war as central to the life of the nation.

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4

Walton, Alexandra. "Australia in the Great War, Australian War Memorial, Canberra." Australian Historical Studies 46, no. 2 (May 4, 2015): 304–7. http://dx.doi.org/10.1080/1031461x.2015.1044157.

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5

Kerby, Martin, Margaret Baguley, Alison Bedford, and Richard Gehrmann. "If these stones could speak: War memorials and contested memory." Historical Encounters: A journal of historical consciousness, historical cultures, and history education 8, no. 3 (December 22, 2021): 1–12. http://dx.doi.org/10.52289/hej8.301.

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This article explores how war memorials engage with the contested nature of public sculpture and commemoration across historical, political, aesthetic and social contexts. It opens with an analysis of the Australian commemorative landscape and the proliferation of Great War Memorials constructed after 1918 and their ‘war imagining’ that positioned it as a national coming of age. The impact of foundational memorial design is explored through a number of memorials and monuments which have used traditional symbolism synonymous with the conservative ideological and aesthetic framework adopted during the inter-war years. The authors then analyse international developments over the same period, including Great War memorials in Europe, to determine the extent of their impact on Australian memorial and monument design. This analysis is juxtaposed with contemporary memorial design which gradually echoed increasing disillusionment with war and the adoption of abstract designs which moved away from a didactic presentation of information to memorials and monuments which encouraged the viewer’s interpretation. The increase of anti- or counter-war memorials is then examined in the context of voices which were often excluded in mainstream historical documentation and engage with the concept of absence. The selection of memorials also provides an important contribution in relation to the ideological and aesthetic contribution of war memorials and monuments and the extent of their relevance in contemporary society.

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6

Brown, Nicholas. "Never Enough: the Australian War Memorial Redevelopment." Australian Historical Studies 50, no. 2 (April 3, 2019): 255–60. http://dx.doi.org/10.1080/1031461x.2019.1595333.

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7

Condé, Anne-Marie. "John Treloar, Official War Art and the Australian War Memorial*." Australian Journal of Politics & History 53, no. 3 (September 3, 2007): 451–64. http://dx.doi.org/10.1111/j.1467-8497.2007.00469.x.

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8

Challenor, Catherine. "The Australian War Memorial: an exercise in teamwork." Museum International 46, no. 1 (March 1994): 52–55. http://dx.doi.org/10.1111/j.1468-0033.1994.tb01155.x.

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9

McKernan, Amy. "Discomfort at the Australian War Memorial: learning the trauma of war." History Australia 14, no. 1 (January 2, 2017): 99–114. http://dx.doi.org/10.1080/14490854.2017.1287005.

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10

Mikhailov, V. V. "THE AUSTRALIAN AND NEW ZEALAND CORPS IN EGYPT BEFORE LANDING AT GALLIPOLI IN 1915." Scientific Notes of V.I. Vernadsky Crimean Federal University. Historical science 6 (72), no. 4 (2020): 86–96. http://dx.doi.org/10.37279/2413-1741-2020-6-4-86-96.

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The history of the Australian and new Zealand corps (ANZAC) in preparation for the landing on the Gallipoli Peninsula in the Egyptian training camps is studied. The relationship between the rank and file of the corps is analyzed. The study examines the living conditions and relationships of Australians and new Zealanders with the local population in and around Cairo. The study examines the training of corps units in training and exercises, the attitude of soldiers and officers to the quality of training of corps troops, as well as the participation of troops of the Australian-new Zealand army corps in the repulse of the Turkish offensive on the Suez canal in February 1915. An overview of the actions of the landing command to concentrate ANZAC forces in Mudros Bay (Lemnos) before the start of the landing at Gallipoli is given. The article makes extensive use of archival materials of the Australian War Memorial and British archives, the official history of Australia’s participation in world war I, diary entries and letters of Australians and new Zealanders who participated in the first convoy from Australia to Alexandria (Egypt), Russian and foreign research on the initial stage of the Gallipoli operation of the allied forces of the Entente against the Ottoman Empire..

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11

Mikhailov, V. V. "MOBILISATION IN AUSTRALIA AND THE FORMATION OF THE AUSTRALIAN AND NEW ZEALAND CORPS (ANZAC) IN 1914." Scientific Notes of V.I. Vernadsky Crimean Federal University. Historical science 6(72), no. 2 (2020): 95–104. http://dx.doi.org/10.37279/2413-1741-2020-6-2-95-104.

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The author studies the history of formation of the Australian-new Zealand army corps (ANZAC) formations after the beginning of the First world war. The mobilization activities of the governments of Australia and New Zealand, the reaction of societies in these countries to the world war and participation in it, the features of recruitment of the Australian Imperial Force (AIS) and the new Zealand expeditionary force, the characteristics of the corps command are studied. It shows the main events during the transport of the first convoy with ANZAC troops to training camps in Egypt in the autumn of 1914, the victory of the Australian cruiser Sydney over the German raider – light cruiser Emden during the AIS convoy. Special attention is paid to the connection of events of formation and transport ANZAC with Russia – the presence in the body of Russian emigrants volunteers, and participation in the protection of the convoy and against German raiders in the Pacific and Indian oceans warships of the Russian Navy, «Pearl» and «Askold». The article uses archival materials of the Australian War Memorial and English archives, diary entries and letters of participants of the first convoy from Australia to Alexandria (Egypt).

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12

Forsyth, Hannah. "Post-war political economics and the growth of Australian university research, c.1945-1965." History of Education Review 46, no. 1 (June 5, 2017): 15–32. http://dx.doi.org/10.1108/her-10-2015-0023.

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Purpose The purpose of this paper is to consider the national and international political-economic environment in which Australian university research grew. It considers the implications of the growing significance of knowledge to the government and capital, looking past institutional developments to also historicise the systems that fed and were fed by the universities. Design/methodology/approach The paper is based on the extensive archival research in the National Archives of Australia and the Australian War Memorial on the formation and funding of a wide range of research programmes in the immediate post-war period after the Second World War. These include the Australian Atomic Energy Commission, the NHMRC, the Commonwealth Scientific and Industrial Research Organisation, the Australian Pacific Territories Research Council, the Commonwealth Office of Education, the Universities Commission and the Murray review. This research was conducted under the Margaret George Award for emerging scholars for a project entitled “Knowledge, Nation and Democracy in Post-War Australia”. Findings After the Second World War, the Australian Government invested heavily in research: funding that continued to expand in subsequent decades. In the USA, similar government expenditure affected the trajectory of capitalist democracy for the remainder of the twentieth century, leading to a “military-industrial complex”. The outcome in Australia looked quite different, though still connected to the structure and character of Australian political economics. Originality/value The discussion of the spectacular growth of universities after the Second World War ordinarily rests on the growth in enrolments. This paper draws on a very large literature review as well as primary research to offer new insights into the connections between research and post-war political and economic development, which also explain university growth.

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13

Bridge, Carl. "Reading the Australian War Memorial, Hyde Park Corner, London." London Journal 44, no. 3 (September 2, 2019): 227–32. http://dx.doi.org/10.1080/03058034.2019.1645408.

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14

Stephens, John R. "The cultural biography of a Western Australian war memorial." International Journal of Heritage Studies 19, no. 7 (November 2013): 659–75. http://dx.doi.org/10.1080/13527258.2012.686447.

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15

Gosseye, Janina, and Alice Hampson. "Queensland making a splash: Memorial pools and the body politics of reconstruction." Queensland Review 23, no. 2 (December 2016): 178–95. http://dx.doi.org/10.1017/qre.2016.28.

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AbstractIn April 2015, The Pool emerged as the winning proposal for Australia's exhibition at the 2016 Venice Architecture Biennale.1 Creative directors Aileen Sage and Michelle Tabet explained that the pool was ‘a lens through which to explore Australian cultural identity’ and ‘aptly represents a distinctively Australian democratic and social space’.2 In Australia, the public pool was popularised in the post-war period, particularly in Queensland where it offered relief from the long, hot and humid summers. Although Brisbane already had several floating baths along the Brisbane River from the mid-nineteenth century, large-scale, in-ground pool construction in the state did not start in earnest until the mid-1950s, when the personal and social benefits of recreational time with family and friends became well established. In Queensland, as elsewhere in the country, the government encouraged the construction of swimming pools, and many became memorial pools, dedicated to those who had fought to defend an Australian ‘way of life’. Their design was to reflect the civic and social foundations of the initiative, and in Queensland architects took delight in all the opportunities it afforded. The result was a widely diverging collection of predominantly humble and economical structures that were rarely ordinary or dull. Analysing three key pools that were constructed in regional Queensland between 1955 and 1965 — in Rockhampton, Mackay and Miles — this article draws out some of the defining features of Queensland's modern memorial pools, and highlights how this typology became the quintessential ‘Australian democratic and social space’.3

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16

Piggott, Michael. "Australian War Memorial, ANZAC Voices, Canberra, November 2013 - November 2014." Archives and Manuscripts 42, no. 1 (January 2, 2014): 107–8. http://dx.doi.org/10.1080/01576895.2014.888034.

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17

Inglis, K. S. "A Sacred Place: The Making of the Australian War Memorial." War & Society 3, no. 2 (September 1985): 99–126. http://dx.doi.org/10.1179/106980485790303999.

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18

Oppenheimer, Melanie. "Review of Conflicts 1945 to Today, Australian War Memorial, Canberra." History Australia 5, no. 3 (January 2008): 84.1–84.2. http://dx.doi.org/10.2104/ha080084.

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19

Robertson, Emily. "For Country, For Nation, Australian War Memorial, Canberra, Entry: Free." History Australia 14, no. 3 (July 3, 2017): 472–73. http://dx.doi.org/10.1080/14490854.2017.1364613.

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20

Kellett, Susan. "Truth and love: the windows of the Australian War Memorial." Journal of Australian Studies 39, no. 2 (April 3, 2015): 125–50. http://dx.doi.org/10.1080/14443058.2015.1021366.

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21

Syron, Liza-Mare. "‘Addressing a Great Silence’: Black Diggers and the Aboriginal Experience of War." New Theatre Quarterly 31, no. 3 (July 9, 2015): 223–31. http://dx.doi.org/10.1017/s0266464x15000457.

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In 2014 Indigenous theatre director Wesley Enoch announced in an interview that ‘the aim of Indigenous theatre is to write into the public record neglected or forgotten stories’. He also spoke about the aims of a new Australian play, Black Diggers, as ‘honouring and preserving’ these stories. For Enoch, Black Diggers (re)addresses a great silence in Australia’s history, that of the Aboriginal experience of war. Also in 2014, the memorial sculpture Yininmadyemi Thou Didst Let Fall, commissioned by the City of Sydney Council, aimed to place in memoriam the story of forgotten Aboriginal soldiers who served during international conflicts, notably the two world wars. Both Black Diggers and the Yininmadyemi memorial sculpture are counter-hegemonic artefacts and a powerful commentary of a time of pseudo-nationalist memorialization. Both challenge the validity of many of Australia’s socio-political and historical accounts of war, including the frontier wars that took place between Aboriginal people and European settlers. Both unsettle Australia’s fascination with a memorialized past constructed from a culture of silence and forgetfulness. Liza-Mare Syron is a descendant of the Birripi people of the mid-north coast of New South Wales in Australia. An actor, director, dramaturg, and founding member of Moogahlin Performing Arts, a Sydney-based Aboriginal company, she is currently the Indigenous Research Fellow at the Department of Media, Music, Communication, and Cultural Studies at Macquarie University, Sydney. She has published widely on actor training, indigenous theatre practice, inter-cultural performance, and theatre and community development.

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22

Stephens, John. "Forgetting, sacrifice, and trauma in the Western Australian State War Memorial." Journal of Australian Studies 37, no. 4 (December 2013): 466–84. http://dx.doi.org/10.1080/14443058.2013.832700.

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23

Creagh, Dudley. "The Study of Valuable Medals using X-Ray Analysis." Advances in X-ray Analysis 35, B (1991): 1127–32. http://dx.doi.org/10.1154/s0376030800013409.

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AbstractThe exact compositions of the Victoria Crosses held in custody by the Australian War Memorial were needed so that its conservation staff could formulate a proper strategy for their conservation. This analytical study not only provided the required information but it resolved important ambiguities in the historical record.

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24

Allen, Matthew. "Ghostly Remains and Converging Memories: Yūshūkan and the Australian War Memorial Exhibit the Pacific War." Asian Studies Review 39, no. 3 (June 19, 2015): 430–46. http://dx.doi.org/10.1080/10357823.2015.1053839.

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25

Cahill, Susan. "The Art of War: Painted Photographs and Australia’s “War on Terror”." RACAR : Revue d'art canadienne 39, no. 2 (December 9, 2014): 71–87. http://dx.doi.org/10.7202/1027750ar.

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De novembre 2008 à décembre 2010, l’exposition Framing Conflict : Iraq and Afghanistan est présentée dans un grand nombre d’institutions culturelles et militaires à travers l’Australie. Organisée par le Australian War Memorial et sous l’égide du commissaire Warwick Heywood, elle est principalement composée d’huiles sur toile de lin réalisées par le duo d’artistes australiens Lyndell Brown et Charles Green. Leurs oeuvres s’appuient sur une série de photographies prises en 2007 pendant leur « embarquement » (« embed ») en tant qu’artistes officiels du War Art Scheme, au sein de la Australian Defense Force basée en Afghanistan et au Moyen-Orient. J’examine ces peintures réalisées sur commande par Brown et Green dans le but d’explorer la façon dont ces artistes complexifient les attentes par rapport à l’art commandité par l’État et les récits officiels de l’histoire militaire australienne. Pour ce faire, j’effectue un rapprochement entre une analyse de ce que les tableaux dépeignent et la manière dont les artistes ont négocié leur rôle en tant qu’héritiers d’une mémoire de l’art militaire, et ce, en lien avec leur propre pratique esthétique, leurs croyances politiques, et le contexte plus large du rôle de l’Australie dans « la guerre au terrorisme » internationale.

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26

Brook, Scott. "Touring the Phantom Agent: Recognition, Defacement and the Vietnamese Australian War Memorial." Journal of Intercultural Studies 27, no. 1-2 (February 2006): 133–49. http://dx.doi.org/10.1080/07256860600607900.

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27

Waterton, Emma, and Jason Dittmer. "The museum as assemblage: bringing forth affect at the Australian War Memorial." Museum Management and Curatorship 29, no. 2 (March 4, 2014): 122–39. http://dx.doi.org/10.1080/09647775.2014.888819.

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28

Fletcher, Angharad. "Sisters Behind the Wire: Reappraising Australian Military Nursing and Internment in the Pacific during World War II." Medical History 55, no. 3 (July 2011): 419–24. http://dx.doi.org/10.1017/s0025727300005500.

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During the Second World War, approximately 3,500 Australian military nurses served in combat regions throughout the world. The vast majority were enlisted in the Australian Army Nursing Service (AANS), but after the Japanese advance and the fall of Hong Kong (December 1941) and Singapore (February 1942), a significant number of these nurses spent three-and-a-half years as POWs in Indonesia, Hong Kong, Japan and the Philippines. To date, considerable research has been undertaken on POW experiences in Hong Kong, Singapore, Thailand and Japan, albeit primarily focused on the testimonies of men and civilian women. This body of research utilises various methodologies, from Yuki Tanaka and Kei Ushimura's efforts to reconcile Japanese war crimes with the corruption of the Bushido ethic and sexual violence in contemporary Japanese society, to Christina Twomey's work on the imprisonment and repatriation of Dutch, Dutch–Eurasian and Australian civilian women and children. In the past fifteen years, historians have become aware of the need to recognise the multiplicity of these experiences, rather than continuing to focus on individual community, camp or regional case studies. Nurses are by no means absent from the discussion, although the majority of notable works on this subject focus on Hong Kong or the Philippines and adopt a descriptive and somewhat anecdotal approach. At the same time, scant critical attention has been paid to the internment of nurses in Indonesia despite a wealth of material kept in the Australian War Memorial (AWM) and National Archives of Australia (NAA).

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29

Biekersteth, Julian. "CONSERVATION OF THE HALL OF MEMORY GLASS TILE MOSAIC, AUSTRALIAN WAR MEMORIAL, CANBERRA." Studies in Conservation 45, sup2 (October 2000): 2. http://dx.doi.org/10.1179/sic.2000.45.s2.002.

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30

Mikhailov, V. V. "HOW THE ANZAC LEGEND WAS CREATED: MORNING OF APRIL 25, 1915." Scientific Notes of V.I. Vernadsky Crimean Federal University. Historical science 7 (73), no. 2 (2021): 112–29. http://dx.doi.org/10.37279/2413-1741-2021-7-2-112-129.

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The article is devoted to the study of the first combat operations of the Australian-new Zealand army corps. It shows measures to ensure the surprise of the landing, a diversionary maneuver of the fleet in Saros Bay, the landing of three echelons of troops on the morning of April 25, 1915, on the beaches of Anzac Cove and North beach, the reasons for the rapid success and subsequent failures of the paratroopers. The reasons for the weak interaction of the landing units, the lack of artillery support, delays in the landing of the third echelon and the arrival of reinforcements to the front areas of the advance of troops are analyzed. It also shows the actions of the Turkish officer responsible for the defense of the Anzac landing site – Colonel Mustafa Kemal, who showed determination and did not allow the defenders of Gallipoli to retreat under the blows of superior forces of Australian and new Zealand troops. The article uses archival materials from the Australian War Memorial and British archives, diary entries and letters from Australians and new Zealanders, Russian and foreign research on the initial stage of the Gallipoli operation

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31

Thomas, James B., Peter Dennis, Jeffrey Grey, John Crawford, and Ellen Ellis. "The Boer War: Army, Nation, and Empire. The 1999 Chief of Army/Australian War Memorial Military History Conference." Journal of Military History 64, no. 4 (October 2000): 1171. http://dx.doi.org/10.2307/2677295.

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32

Deegan, Connor. "Why do public monuments play such an important role in memory wars?" Constellations 9, no. 1 (January 11, 2018): 20–33. http://dx.doi.org/10.29173/cons29343.

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In this paper I explore the role played by public monuments in the narration of national stories. I examine several monuments that have been built to promote various national narratives, with a particular focus on the South Australian National War Memorial, located in Adelaide, Australia. My analysis reveals that monuments have a dynamic capacity to embody simplified narratives of the past, and to shape collective memory accordingly. I contend that, owing to this capacity, monuments play a significant role in the narration of national stories. I also consider the power of monuments to serve vehicles for the promulgation of dissenting narrative strands. I ultimately argue that the prevalence of such strands reveals that many “memory wars” can never definitively be won—that is, that it is impossible to achieve homogeneity in history.

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33

Balfour, Michael. "Mapping Realities: Representing War through Affective Place Making." New Theatre Quarterly 28, no. 1 (January 31, 2012): 30–40. http://dx.doi.org/10.1017/s0266464x12000036.

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One of the most unusual statistics in the study of performance and war is that aesthetic activity often increases in times of conflict. In this article Michael Balfour extends the consideration of performance and war to aesthetic projects that were located far removed from the centres of conflict, but that deeply connected with the affective impact of war. As an illustration of performative practice, the examples demonstrate the ways in which place making can play with documenting and representing war experiences in different ways. The two examples – This is Camp X-Ray in Manchester (a temporary installation) and the Vietnam Veterans Memorial in Washington DC – were designed in separate contexts for very different purposes; but contribute to understanding the kinds of choices that artists make in representing the affective ‘truths’ of war experience. In both cases, the artists were interested in creating spaces that would make the wars more visible for an audience, and provide a tangible place in which experiences of war could be re-conceived and an affective connection made. Michael Balfour is Professor of Applied Theatre, Griffith University, Brisbane, Australia. His research expertise is in the social applications of theatre, in particular theatre and war, prison theatre, and arts and health. Major Australian Research Council-funded projects include The Difficult Return, on approaches to artsbased work with returning military personnel, and Captive Audiences, on the impact of performing arts programmes in prisons. His books include Theatre and War 1933–1945 and, most recently, Performance in Place of War, co-authored with James Thompson and Jenny Hughes (Seagull Press, 2010).

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34

Williams, Katti. "Clothing the Nation: Representing a Distinctively Australian National Identity in World War I Memorial Architecture." Australian Historical Studies 52, no. 1 (January 2, 2021): 79–105. http://dx.doi.org/10.1080/1031461x.2020.1858894.

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35

LaForgia, Rebecca. "Touching the hope in security: reflections on the gas-mask display at the Australian War Memorial." Critical Studies on Security 8, no. 1 (May 14, 2019): 73–77. http://dx.doi.org/10.1080/21624887.2019.1611996.

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36

McKinnon, Alexandra. "‘I am proud of them all & we all have suffered’: World War I, the Australian War Memorial and a family in war and peace." Australian Journal of Biography and History 3 (April 8, 2020): 103–15. http://dx.doi.org/10.22459/ajbh.2020.06.

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37

Woolfenden, Sue, Kate Milner, Kali Tora, Kelera Naulumatua, Reapi Mataika, Fleur Smith, Raghu Lingam, Joseph Kado, and Ilisapeci Tuibeqa. "Strengthening Health Systems to Support Children with Neurodevelopmental Disabilities in Fiji—A Commentary." International Journal of Environmental Research and Public Health 17, no. 3 (February 4, 2020): 972. http://dx.doi.org/10.3390/ijerph17030972.

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Supporting children with neurodevelopmental disabilities (NDDs) is recognized as an increasing priority in Fiji, a middle-income Pacific Island country. Our objective was to describe our approach to developing a model of care and strengthening local leadership in developmental paediatrics in Fiji to ensure high-quality identification, assessment and management of children with NDDs. Paediatric staff at Colonial War Memorial (CWM) Hospital in Suva have worked in partnership with Australian paediatricians to develop the model of care. The platform of continuing medical education during biannual 3 to 4 days of clinic-based teaching with visiting developmental paediatricians from Australia has been used. Since 2010, there have been 15 local and regional paediatric trainees trained. Since 2015, our two local lead paediatric trainees have run a weekly local developmental clinic. In total, 370 children aged 0 to 18 with NDDs have been comprehensively assessed with a detailed history and standardised tools. The model is extending to two divisional hospitals. Research engagement with the team is resulting in the development of a local evidence base. Local, regional and international leadership and collaboration has resulted in increased capacity in the Fijian health system to support children with NDDs.

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Caso, Federica. "Representing indigenous soldiers at the Australian War Memorial: a political analysis of the art exhibition For Country, For Nation." Australian Journal of Political Science 55, no. 4 (August 12, 2020): 345–61. http://dx.doi.org/10.1080/10361146.2020.1804833.

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Haultain-Gall, Matthew. "Same old relics, same old story? Displaying the third battle of Ypres at the Australian War Memorial, past and present." History Australia 14, no. 3 (July 3, 2017): 444–60. http://dx.doi.org/10.1080/14490854.2017.1359076.

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Luckins, Tanja. "Collecting Women’s Memories: the Australian War Memorial, the next of kin and Great War soldiers’ diaries and letters as objects of memory in the 1920s and 1930s." Women's History Review 19, no. 1 (February 2010): 21–37. http://dx.doi.org/10.1080/09612020903444635.

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Darian-Smith, Kate, and James Waghorne. "Australian universities and the commemoration of the First World War." History of Education Review 45, no. 2 (October 3, 2016): 239–55. http://dx.doi.org/10.1108/her-09-2015-0022.

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Purpose The purpose of this paper is to examine how Australian universities commemorated the First World War, with a focus on the University of Melbourne as an institution with a particularly rich history of wartime participation and of diverse forms of memorialisation. Design/methodology/approach A case study approach is taken, with an overview of the range of war memorials at the University of Melbourne. These include memorials which acknowledged the wartime role of individuals or groups associated with the University, and took the form of architectural features, and named scholarships or academic positions. Three cross-campus war memorials are examined in depth. Findings This paper demonstrates that there was a range of war memorials at Australian universities, indicating the range of views about the First World War, and its legacies, within university communities of students, graduates and staff. Originality/value University war commemoration in Australia has not been well documented. This study examines the way in which the particular character of the community at the University of Melbourne was to influence the forms of First World War commemoration.

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Page, James. "Making Sense of Australia's War Memorials." Peace Review 22, no. 3 (August 18, 2010): 276–79. http://dx.doi.org/10.1080/10402659.2010.502067.

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43

Kerby, Martin, Malcom Bywaters, and Margaret Baguley. "The spectre of the thing: The construction of the Sydney Gay and Lesbian Holocaust memorial." Historical Encounters: A journal of historical consciousness, historical cultures, and history education 8, no. 3 (December 22, 2021): 27–40. http://dx.doi.org/10.52289/hej8.303.

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The Sydney Gay and Lesbian Holocaust Memorial is situated on the western side of Green Park in Darlinghurst, in Sydney, Australia. Darlinghurst is considered the heart of Sydney's gay and lesbian population, having been the site of demonstrations, public meetings, Gay Fair Days, and the starting point for the AIDS Memorial Candlelight Rally. It is also very close to both the Sydney Jewish Museum and the Jewish War Memorial. The planning and construction of the Memorial between 1991 and 2001 was a process framed by two competing imperatives. Balancing the commemoration of a subset of victims of the Holocaust with a positioning of the event as a universal symbol of the continuing persecution of gays and lesbians was a challenge that came to define the ten year struggle to have the memorial built.

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Inglis, K. S., and Jock Phillips. "War memorials in Australia and New Zealand: A comparative survey." Australian Historical Studies 24, no. 96 (April 1991): 179–91. http://dx.doi.org/10.1080/10314619108595879.

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Stephens, John. "‘Remembering the Wars’: documenting memorials and war commemoration in Western Australia." Journal of Architecture 15, no. 5 (October 2010): 637–50. http://dx.doi.org/10.1080/13602365.2010.519955.

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Wellington, Jennifer. "War Trophies, War Memorabilia, and the Iconography of Victory in the British Empire." Journal of Contemporary History 54, no. 4 (September 5, 2019): 737–58. http://dx.doi.org/10.1177/0022009419864159.

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Cultural efforts to mobilise populations behind the war in Britain and its Dominions, Canada and Australia – especially through the exhibition of war trophies – solidified after the Armistice into state-supported institutions creating and promoting a culture of victory. This culture was most pronounced, and most centralised, in Australia. Wartime propaganda institutions grew into national war museums which effectively froze the victorious national war effort, and the moment of triumph, in three-dimensional form. The institutions, and the people who ran them, did not demobilise with the peace. These museums used substantially the same objects and techniques they had used in wartime to support the war effort to create a postwar narrative in which victory established a clear (and martial) national identity, and also justified the war itself. At the same time, the narrative of a British imperial victory was used to create claims of unity which denied the reality of divisions in society. Trophies wrested from wartime enemies were used as pride-inducing objects to fundraise for peace, and fashioned into war memorials that were at once sites of mourning and monuments celebrating military dominance. Visions of postwar peace and progress could not be disentangled from victory and the violence that enabled it.

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Rainbird, Paul. "Representing nation, dividing community: The Broken Hill War Memorial, New South Wales, Australia." World Archaeology 35, no. 1 (April 2003): 22–34. http://dx.doi.org/10.1080/0043824032000078063.

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West, Brad. "Dialogical Memorialization, International Travel and the Public Sphere: A Cultural Sociology of Commemoration and Tourism at the First World War Gallipoli Battlefields." Tourist Studies 10, no. 3 (December 2010): 209–25. http://dx.doi.org/10.1177/1468797611407756.

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As part of a larger ethnographic research project, this article analyses the history of memorialization on the First World War Gallipoli battlefields and its relationship with international travel and tourism. It contrasts the original Australian and New Zealand memorialization on the site with Turkish memorials constructed there in the late 20th century, a significant proportion of which are characterized by direct symbolic recognition of the ‘other’. Drawing on Bakhtin’s writings on referential discourses I refer to these as being dialogical. At Gallipoli this dialogical memorialization facilitated the rise of Australian tourism to the battlefields by allowing for a cosmopolitan reimagining of the military campaign, which included emphasizing extraordinary cases of humanity and framing soldiers as tourists. A cultural sociology of the public sphere is proposed as a way of comprehending such tourism, one that avoids assumptions about the severing of meaningful cultural ties with the events and institutions of modernity.

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Giesecke, A. H. "Norman R. James F.F.A.R.A.C.S., a Pioneer of High Quality Anaesthesia in Australia." Anaesthesia and Intensive Care 33, no. 1_suppl (June 2005): 21–28. http://dx.doi.org/10.1177/0310057x0503301s02.

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Dr Norman R. James was a multi-talented, highly accomplished clinician, teacher and innovator broadly recognized on three continents. In the United Kingdom, he served in London's Emergency Medical Service during World War II and was dubbed “England's foremost exponent of regional anaesthesia”. In his native land, he was the first Director of Anaesthetics at The Royal Melbourne Hospital with many innovations to his credit including a serious effort to reform anaesthetic practice in Australia. Dr M. T. “Pepper” Jenkins, the charismatic founder of anesthesiology at the University of Texas Southwestern Medical School, recruited him to Dallas in 1960, where he taught the art and science of anesthesiology at Parkland Memorial Hospital until his retirement in 1974. He died in 1987 and is buried in Winnsboro, Texas. A brief story of his life and career follows.

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Twomey, Christina. "‘A novel form of war memorial’: the AIF Malayan Nursing Scholarship and Australia–Asia relations." History Australia 14, no. 2 (April 3, 2017): 250–65. http://dx.doi.org/10.1080/14490854.2017.1319741.

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