Relevant bibliographies by topics / Australian Women's History

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Australian Women's History'

Author: Grafiati
Published: 17 July 2023

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Journal articles on the topic "Australian Women's History"

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Spongberg, Mary. "Australian Women's History." Women's History Review 8, no. 2 (June 1999): 379–86. http://dx.doi.org/10.1080/09612029900200206.

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Nuttall, Sarah. "History and identity in contemporary australian women's autobiography." Women's Writing 5, no. 2 (July 1, 1998): 189–99. http://dx.doi.org/10.1080/09699089800200060.

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Lloyd, Justine. "Women's Pages in Australian Print Media from the 1850s." Media International Australia 150, no. 1 (February 2014): 61–65. http://dx.doi.org/10.1177/1329878x1415000114.

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For a roughly a century, from the 1870s to the 1970s, most Australian newspapers ran a section directed towards a woman reader written from a woman's perspective and edited by a female journalist. The rise and fall of the women's editor's ‘empire within an empire’ provides insight into female journalists' industrial situation, as well as a window on to gender relations in colonial and post-Federation Australia. This history matches wider struggles over the notion of separate spheres and resulting claims for equality, as well as debates over mainstream news values. This article investigates the appearance and disappearance of women's sections from Australian newspapers, and argues that this story has greater impact on contemporary digital formats than we perhaps realise.
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GOODALL, HEATHER, and DEVLEENA GHOSH. "Reimagining Asia: Indian and Australian women crossing borders." Modern Asian Studies 53, no. 04 (December 7, 2018): 1183–221. http://dx.doi.org/10.1017/s0026749x17000920.

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AbstractThe decades from the 1940s to the 1960s were ones of increasing contacts between women of India and Australia. These were not built on a shared British colonial history, but on commitments to visions circulating globally of equality between races, sexes, and classes. Kapila Khandvala from Bombay and Lucy Woodcock from Sydney were two women who met during such campaigns. Interacting roughly on an equal footing, they were aware of each other's activism in the Second World War and the emerging Cold War. Khandvala and Woodcock both made major contributions to the women's movements of their countries, yet have been largely forgotten in recent histories, as have links between their countries. We analyse their interactions, views, and practices on issues to which they devoted their lives: women's rights, progressive education, and peace. Their beliefs and practices on each were shaped by their respective local contexts, although they shared ideologies that were circulating internationally. These kept them in contact over many years, during which Kapila built networks that brought Australians into the sphere of Indian women's awareness, while Lucy, in addition to her continuing contacts with Kapila, travelled to China and consolidated links between Australian and Chinese women in Sydney. Their activist world was centred not in Western Europe, but in a new Asia that linked Australia and India. Our comparative study of the work and interactions of these two activist women offers strategies for working on global histories, where collaborative research and analysis is conducted in both colonizing and colonized countries.
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Irving, Helen. "The Republic is a Feminist Issue." Feminist Review 52, no. 1 (March 1996): 87–101. http://dx.doi.org/10.1057/fr.1996.9.

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The growth during the 1990s of a republican movement in Australia has stimulated among other things a feminist examination of both the gendered nature of republicanism and the under-representation of women in senior positions in republican organizations. Feminists have adopted several critical perspectives on Australian republicanism: one involves the claim for the redesign of Australian political institutions in order to maximize the representation of women and women's interests; another suggests that the neglected history of women's involvement in constitutional politics during the last century needs to be understood to throw light on ways in which republicanism can be made more meaningful for women now, while a third argues that republicanism is not essentially a feminist issue and should not be pursued as such. The article challenges this conclusion.
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Murdolo, Adele. "Warmth and Unity with all Women?" Feminist Review 52, no. 1 (March 1996): 69–86. http://dx.doi.org/10.1057/fr.1996.8.

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In this paper I discuss the four Women and Labour conferences which were held in Australian capital cities over the seven years between 1978 and 1984. I explore the ways in which the history of Australian feminist activism during this period could be written, questioning in particular the claim that the Women and Labour conferences have been central to the history of Australian feminism. I discuss the ways in which a historical sense could be established, using writings about the conferences as historical ‘evidence’, that race and ethnic divisions between women had not been important to the ‘women's movement’ until 1984. In other words, I challenge the construction of this conference as a turning point – not only in the feminist politicization of immigrant and Aboriginal women, but also in the politicization of all feminists about race and ethnic divisions. More broadly, I am interested in how a history would be written if it aimed to get to the ‘truth’ about racism and about the feminist activism of immigrant women. How would the apparent lack of written ‘evidence’ – at least until 1984 – of immigrant women's feminist activism, and of the awareness of Australian feminists about issues of racism, be written into this history? In addition, I suggest that it is important to the writing of feminist history in Australia that published documentation has been mostly produced by anglo women, and is thus partial and mediated by the lived, embodied experiences of anglo women. Finally, my intention is to interrogate commonly understood narratives about Australian feminist history, to challenge their seamlessness, and to suggest the importance of recognizing the tension within feminist discourses between difference as benign diversity and difference as disruption.
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Dow, Gwyneth. "Educational, women's and social history entangled: some recent Australian examples." History of Education 17, no. 1 (March 1988): 101–6. http://dx.doi.org/10.1080/0046760880170107.

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Kibler, M. Alison. "Settling Accounts with Settler Societies: Strategies for Using Australian Women's History in a United States Women's History Class." History Teacher 37, no. 2 (February 2004): 155. http://dx.doi.org/10.2307/1555649.

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Hunter, Kathryn M. "The Drover's Wife and the Drover's Daughter: Histories of Single Farming Women and Debates in Australian Historiography." Rural History 12, no. 2 (October 2001): 179–94. http://dx.doi.org/10.1017/s0956793300002430.

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AbstractIn the 1980s two vigorous debates commanded the attention of economic and feminist historians alike, and they played a key part in shaping the historiography concerning rural women in Australia. One debate revolved around the use of the nineteenth-century census in determining women's occupations, including those of farming women. The other debate, part of a wider feminist conversation about women's agency, focused on the question of the nature of white women's lives within colonial families and society. Despite the centrality of rural women to these debates, and the role colonial women's histories played in shaping the historiography, these debates did not impact upon the writing of rural history in Australia. This article revisits these debates in the light of new research into the lives of never-married women on Australia's family farms and uses their histories to question the conclusions arrived at by feminist and economic historians. It also questions the continuing invisibility of rural women in histories of rural Australia and hopes to provoke more discussion between rural and feminist historians.
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Hope, Cat, Nat Grant, Gabriella Smart, and Tristen Parr. "TOWARDS THE SUMMERS NIGHT: A MENTORING PROJECT FOR AUSTRALIAN COMPOSERS IDENTIFYING AS WOMEN." Tempo 74, no. 292 (March 6, 2020): 49–55. http://dx.doi.org/10.1017/s0040298219001177.

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AbstractThe Summers Night Project is an ongoing composer-mentoring programme established in 2018 by musicians Cat Hope and Gabriella Smart, with the support of the Perth-based new music organisation Tura New Music. The project aims to support and mentor emerging Australian female and gender minority composers to create new compositions for performance, with the aim of growing the gender diversity of composers in music programmes across Australia. Three composers were chosen from a national call for submissions, and works were performed by an ensemble consisting of members from the Decibel and Soundstream new music ensembles. Three new works were workshopped, recorded then performed on a short tour of Perth, Adelaide and Melbourne, Australia in July 2018. The project takes its name and inspiration from Australian feminist Anne Summers, author of the ground-breaking examination of women in Australia's history Damned Whores and God's Police (1975) and was inspired by her 2017 Women's Manifesto. This article examines the rationale for such a project, the processes and results of the project itself, and plans for its future.
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Dissertations / Theses on the topic "Australian Women's History"

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Deas, Megan Elizabeth. "Imagining Australia: Community, participation and the 'Australian Way of Life' in the photography of the Australian Women's Weekly, 1945-1956." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/148424.

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While the cultural history and practices of press photography in Australia have gained scholarly attention in recent years, the contribution of other forms of photography published in magazines—including editorial, advertising and readers’ photographs—to burgeoning concepts of nationhood has been largely overlooked. This thesis examines the role of photography in visualising a post-war ‘imagined community’ in a study of The Australian Women’s Weekly magazine, the highest-circulating weekly publication in the country, between the end of the Second World War in 1945 and the introduction of television in 1956. In its examination of these photographs, the thesis asks: What narratives of national identity were evident in the photographs? What subject matter and framing techniques were frequently employed to construct a national photographic language? And what does this reveal about the values the Weekly’s publisher and editors attached to being Australian? I argue that the Weekly was not passively depicting or reflecting a national community and its ‘Way of Life’, but that it actively constructed an Australian identity through the thousands of photographs it published, while simultaneously instructing its readers what good citizenship looked like—and how to perform their belonging to the nation. Visual analysis of over 200 photographs highlights the predominant narratives during the period, including an emphasis on the practice of family photography to reinforce ideals of urban, family life as centred within the modern home. Representations of immigration and Aboriginal Australians, the repetition of photographs of families participating in community events, and a valorisation of the rural worker’s relationship with the land were intertwined with the concepts of ordinariness and of the ‘Australian Way of Life’. These core ideals were deployed to enable multiple and potentially oppositional narratives to coexist on the pages of the magazine. Analysis of a series of readers’ colour travel photographs published in the later years of the study foregrounds the Weekly’s encouragement of its readers as collaborators by providing them with an opportunity to demonstrate their performance of national identity. The magazine thus became a platform through which readers contributed to the visual narrative of Australianness, via the medium of photography as a form of participatory citizenship. The thesis foregrounds the implementation of a high-speed printing press in 1950 as a turning point at which readers saw a significant increase in the publication of colour photographs of native flora and fauna, and specifically photographs of ordinary Australians within the landscape. I argue that Alice Jackson and Esme Fenston, the Weekly’s editors during the period of study, positioned it as the mediator of knowledge about Australia, and constructed a relationship with readers based on notions of intimacy and authority. Situated within the multidisciplinary field of visual culture, and drawing from photography studies, visual anthropology, cultural history and media studies, the thesis highlights the cultural work of photography in the process of imaging, and imagining, post-war Australia.
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Davis, Laurel F. "Voyage to Terra Australis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/1648.

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This thesis in Writing is composed of two parts, a creative work for stage, and an essay that both informs the writing of the drama and reflects upon it. The creative work, entitled Ann Flinders Remembers, a musical drama based on the life and journals of Matthew Flinders, navigator and cartographer, and his wife, Ann Flinders. The drama consists of lyrics, letters, extracts, dialogue, monologue, and stage directions, the story told from the point of view of Ann Flinders remembering, and by the all-knowing Chorus, of early Greek theatre. The essay, entitled 'Reflections on and of the Pastoral', traces the genre from the early Greek plays through to more recent theatre, and precedes the creative work to show how I came to the point of writing a musical drama based on the Pastoral genre, and what literature and theory might have been an influence. In the essay, I challenge some widely held conceptions of the Pastoral, at the same time re-acquainting myself with the techniques used by dramatists throughout history. Such a course enables me to reveal the habit of mind that lies at the source of the ancient genre.
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Donovan, Jennifer. "The intellectual traditions of Australian feminism : women's clubs and societies, 1890-1920." Thesis, Faculty of Arts, 2004. http://hdl.handle.net/2123/16478.

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Spurling, Kathryn Lesley History Australian Defence Force Academy UNSW. "The Women's Royal Australian Naval Service : a study in discrimination 1939-1960." Awarded by:University of New South Wales - Australian Defence Force Academy. History, 1988. http://handle.unsw.edu.au/1959.4/38740.

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Throughout history women have shown a willingness to participate actively in the defence of their country, home, and beliefs, and gave lie to the assertion that they were intrinsically less able than men when it came to achieving the ends through violent means. As Western civilization progressed however, women became restricted to ???womanly??? duties and separated from the official military sphere. The power to make war became exclusively men???s. In Australia immigration patterns, geographic features, and a particular historical period combined to create a virulently male dominated society. This was particularly apparent in the armed services. Australia did not allow women to enlist in its defence forces until 1941, a time of unprecedented national peril. Female volunteers were the final option. The Women???s Services were disbanded following World War II and not re-established until the armed forces again could not fulfil their defence commitment. The Royal Australian navy was the last service to permit a female branch, and between 1942 and 1960 the development of the Women???s Royal Australian Naval Service was inhibited by both societal values and attitudes and the traditions and priorities of the Navy.
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Wood, Susan, and s2000093@student rmit edu au. "Creative embroidery in New South Wales, 1960 - 1975." RMIT University. Architecture and Design, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070206.160246.

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In the years between 1960 and 1975 in NSW there emerged a loosely connected network of women interested in modern or creative embroidery. The Embroiderers' Guild of NSW served as a focus for many of these women, providing opportunities for them to exhibit their work, and to engage in embroidery education as teachers or as learners. Others worked independently, exhibited in commercial galleries and endeavoured to establish reputations as professional artists. Some of these women were trained artists and wanted embroidery to be seen as 'art'; others were enthusiastic amateurs, engaged in embroidery as a form of 'serious leisure'. They played a significant role in the development of creative embroidery and textile art in NSW and yet, for the most part, their story is absent from the narratives of Australian art and craft history. These women were involved in a network of interactions which displayed many of the characteristics of more organised art worlds, as posite d by sociologist Howard Becker. They produced work according to shared conventions, they established co-operative links with each other and with other organisations, they organised educational opportunities to encourage others to take up creative embroidery and they mounted exhibitions to facilitate engagement with a public audience. Although their absence from the literature suggests that they operated in isolation, my research indicates that there were many points of contact between the embroidery world, the broader craft world and the fine art community in NSW. This thesis examines the context in which creative embroiderers worked, discusses the careers of key individuals working at this time, explores the interactions between them, and evaluates the influence that they had on later practice in embroidery and textiles in NSW.
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McFarland, Michele. "The intellectual life of Catherine Helen Spence." Thesis, University of Ballarat, 2004. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/60437.

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This thesis will argue that Catherine Helen Spence, a writer, preacher and reformer who migrated from Scotland to Australia in 1839, performed the role of a public intellectual in Australia similar to that played by a number of women of letters in Victorian England. While her ideas were strongly influenced by important British and European nineteenth-century intellectual figures and movements, as well as by Enlightenment thought, her work also reflects the different socio-political, historical and cultural environment of Australia. These connections and influences can be seen in her engagement with what were some of the "big ideas" of the nineteenth century, including feminism, socialism, religious scepticism, utopianism and the value of progress. In arguing that Spence was a public intellectual, I will consider the ways in which she used the literary genres of fiction and journalism, as well as her sermons, to try to help her fellow citizens make sense of the world, attempting to organise and articulate some of the significant ideas affecting the political, social and cultural climates in which they lived. Through the exploration of Spence's intellectual work, I will show how she can be regarded as making a significant contribution to nineteenth-century Australian intellectual life, one that has been under-recognised and under-valued.
Doctor of Philosophy
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Tognini, Melinda. "A struggle for recognition: the War Widows' Guild in Western Australia 1946-1975 ; and, Exegesis: Researching and writing an organisational history." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2012. https://ro.ecu.edu.au/theses/486.

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This thesis comprises an organisational history of the War Widow' Guild Australia WA Inc., and an essay about the research and writing process I undertook to construct such a history. The history outlines the development, struggles and achievements of the War Widows’ Guild in Western Australia from 1946 to 1975. While many were celebrating the end of the war in 1945, thousands of war widows faced an uncertain future without their husbands. Although Prime Minister John Curtin addressed the issue of war widows' pensions as part of his Post War Reconstruction initiatives, the pension was well below the basic wage. Many war widows, especially those with small children to support, now lived in near poverty. It was under these circumstances, that Mrs Jessie Mary Vasey, the widow of Major-General George Alan Vasey, established the War Widows' Craft Guild, first in Victoria in November 1945, and then in other states. In Western Australia, the Guild held its first meeting on 29 November 1946. During the early years, members undertook training in weaving and various crafts to supplement their meagre pensions. The Guild also opened tearooms on the Esplanade in Perth, as a form of income and as a central meeting place. For many war widows it was in meeting together that they found support from others who understood their own experiences of grief and loss. At a state and national level, the Guild became a powerful lobby group on behalf of all war widows influencing the government on issues such as accrued recreation leave, pensions, educational benefits and health care. Many of the pensions and benefits war widows receive today are largely due to the work of the early members of this organisation. These women fought for public recognition and expression of their loss. They fought to have war widows' pensions seen as compensation for their husband's lives rather a government handout. They persevered when the organisation faced hurdles, and fought for their rights at a time when men had the louder voices and determined the rules. The essay outlines the research and writing journey that has produced the history. It outlines the wide-ranging research I undertook for each narrative thread. This includes the writing of organisational histories; experiential research in the form of a trip to Gallipoli; archival sources such as newsletters, minutes, correspondence and photographs; contextual history such as war literature, Western Australian history and post-war history; and oral history. I describe some of the difficulties I encountered when searching for particular kinds of information. I also discuss some of the decisions underpinning the selection and shaping of information, particularly in relation to the war widows' stories and embedding an historical context, and some of the tensions at play in that process.
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Booth, Sharron. "Venturing into silences:The silence of water (novel) - and - Convicts, women and Western Australian stories (essay)." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2312.

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This thesis examines the harsh impact of convict transportation on Western Australian life and literary production with a novel, “The Silence of Water”, and an accompanying essay. The Swan River Colony (Western Australia) was established in 1829 with the express intention never to accept convicts; however, almost 10,000 men were transported there from Britain between 1850 and 1868. “The Silence of Water” depicts the life of one convict, Customs and Excise officer and former tailor Edwin Thomas Salt, who was convicted of the murder of his wife, Mary Ann, in Edinburgh in 1860. The case attracted attention in newspapers across Britain partly due to the “extreme provocation” Edwin was said to have suffered because of Mary Ann’s drinking. Edwin’s death sentence was commuted and he was transported to Western Australia in 1862. Edwin later received a conditional pardon that allowed him to live as a free man. In Western Australia he married twice, had more children and worked sporadically as a tailor. He died in Fremantle in 1910. A literate man with no prior convictions, sometimes a drunk and a bully, Edwin Salt differs from the convicts usually depicted in Western Australian fiction. Through the characters of Edwin Salt, his Australian daughter and granddaughter, “The Silence of Water” explores themes of exile, incarceration, family dislocation, secrets and intergenerational silences. The accompanying essay claims complex convict characters are largely missing from Western Australia’s literature and suggests how “The Silence of Water” claims a place for convicts and the women associated with them in Western Australia’s founding colonial narrative. It also discusses key research frameworks, methods and literary strategies. Chapter one examines how the convict figure functions across a range of novels from 1880 to 2015 and finds that Western Australia’s convict figure differs markedly from that seen in novels from other Australian states. Chapter two examines two research methods used to write the novel: engagement with the archives and engagement with place. It demonstrates how exploration of Edwin Thomas Salt broadened to focus on the women associated with him, driven by a feminist theoretical framework. Chapter three discusses some literary strategies selected for “The Silence of Water” and their rationale, drawing on the work of contemporary Western Australian fiction writers. Overall, the thesis illuminates an under-explored area of Western Australian cultural production and contributes new knowledge about Western Australia’s convict era, the consequences of which are still visible today.
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Brien, Donna L. "The case of Mary Dean: Sex, poisoning and gender relations in Australia." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/117977/1/T%20%28CI%29%2094%20-%20THE%20CASE%20OF%20MARY%20DEAN.pdf.

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The genre of biography is, by nature, imprecise and limited. Real lives are lived synchronously and diversely; they do not divide spontaneously into chapters, subjects or themes. All biographers construct stories, in the process forcing the disordered complexity of an actual life into a neat literary form. This doctoral submission comprises a book length creative work, Poisoned: The Trials of Mary Dean, and a reflective written component on that creative work, Writing Fictionalised Biography. Poisoned is a biography of Mary Dean, who, although repeatedly poisoned by her husband at the end of the nineteenth century, did not die. This biography, presented in the form of a first-person memoir, is based closely on historical evidence and is supported with discursive notes and a select bibliography. The reflective written component, Writing Fictionalised Biography, outlines the process and challenges of writing a biography when the source material available is inadequate and unreliable. In writing Poisoned my genre solution has been fictionalised biography biography which is historically diligent while utilising fictional writing strategies and incorporating fictional passages. This written component reflectively discusses how I arrived at that solution. It includes discussion of the sources I utilised in writing Poisoned, including the limitations of trial transcripts and other court records as biographical evidence; useful precursors to the form; the process wherein I located both a form for my fictionalised biography and a voice for my biographical subject; possible models I considered; how I distinguished established fact from speculative supposition in the text; as well as some of the ambivalences and ethical concerns such a narrative process implies.
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Souliman, Victoria. "“The remoteness that pains us” : National identity, expatriatism and women’s agency in the artistic exchanges between Australia and Britain in the 1920s and 1930s." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC097.

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Cette thèse explore l’influence artistique et culturelle de la Grande-Bretagne en Australie, ou les caractéristiques britanniques de l’identité australienne, depuis les années suivant la fin de la Première Guerre Mondiale jusqu’à 1941. La culture australienne de cette période a souvent été décrite comme isolée, voire même « en quarantaine », caractérisée par son acceptation tardive du modernisme. Bien qu’à cette époque la Grande-Bretagne accorde davantage d’indépendance et d’autonomie à ses dominions, l’Australie cherche à maintenir des liens culturels et impériaux en s’identifiant exclusivement à la Grande-Bretagne. Ainsi, pendant cette période, la majorité des Australiens considèrent toujours l’Angleterre comme mère patrie et Londres attire de nombreux artistes australiens expatriés. Pour reprendre les termes de Daniel Thomas, historien de l’art australien, l’Australie développe une identité culturelle dite « bi-hémisphérique Anglo-australienne », imprégnée de nationalisme, de conservatisme et de valeurs patriarcales. Cette thèse examine les échanges artistiques entre l’Australie et la Grande-Bretagne pendant les années 1920 et 1930 et met en lumière les complexités de l’identification culturelle. Elle considère tout particulièrement le fait que l’historiographie nationaliste de l’art australien a passé sous silence le rôle joué par les femmes dans la construction de l’identité nationale et dans la définition d’un art australien. A travers l’analyse des collections nationales d’art britannique et les mécanismes de circulation de l’art moderne britannique en Australie, cette thèse met en avant la dualité de l’identité culturelle australienne et la marginalisation des femmes, non seulement en tant qu’artistes mais aussi en tant que défenseuses culturelles. En mettant l’accent sur l’expérience d’expatriés australiens en Angleterre et comment ceux-ci cherchent à s’intégrer à la scène artistique britannique, cette thèse rend compte de l’importance de l’expatriation en tant que concept contribuant aux historiographies de l’art en Grande-Bretagne et en Australie. Enfin, cette thèse conceptualise le travail de deux Australiennes expatriées, Edith May Fry et Clarice Zander, qui, en tant qu’organisatrices d’expositions, ont considérablement contribué à la dissémination du modernisme en Australie et à la définition de l’identité culturelle australienne pendant l’entre-deux-guerres. L’enjeu de cette thèse est de démontrer les mécanismes qui ont permis à l’Australie de représenter sa propre identité à travers l’art tout en continuant à s’identifier à la Grande-Bretagne
This thesis explores the cultural and artistic influence of Britain in Australia, or the Britishness of the Australian character, from the years directly following the end of World War I until 1941. Australia during this period was often described as an isolated, or a “quarantined”, culture characterised by its delay in accepting modernism. Despite Britain ceding more independence and autonomy to its dominions at the time, Australia sought to maintain its cultural and imperial bond, identifying exclusively with Britain in a number of ways. For instance, many Australians still considered Britain to be “Home”, while London continued to attract expatriate artists from Australia. In the words of Australian art historian Daniel Thomas, Australia developed a “bi-hemispheric Anglo-Australian cultural identity”, which was marked by nationalism, conservatism and masculinism. This thesis examines the artistic exchanges between Australia and Britain in the 1920s and 1930s, shedding light on the complexities of cultural identification. It considers in particular the fact that such nationalistic historiography of Australian art has denied women’s agency in defining Australian art and identity. The national collections of British art, as well as the mechanisms of the circulation of modern British art in Australia, are closely examined to demonstrate the dualism of Australian cultural identity and the marginalisation of women within this history, not only as artists but also as art patrons. This thesis discusses the experience of Australian expatriates in England, considering how they sought to integrate into the British art scene. In doing so, it brings to the fore the significance of expatriatism as a concept that shaped both Australian and British art historiographies. Finally, it conceptualises the achievements of two Australian expatriate women, Edith May Fry and Clarice Zander, who, as exhibition curators, played a crucial role in disseminating modernism in Australia and defining Australia’s cultural identity during the interwar period. The aim of this thesis is thus to demonstrate the mechanisms through which Australia sought to represent its national character in art, as it strove to maintain its identification with Britain
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Books on the topic "Australian Women's History"

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Magarey, Susan. A bibliography of Australian women's history. Parkville, Vic: Australian Historical Association, 1990.

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Getting equal: The history of Australian feminism. St Leonards, N.S.W: Allen & Unwin, 1999.

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Loving protection?: Australian feminism and Aboriginal women's rights, 1919-1939. Carlton: Melbourne University Press, 2000.

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1953-, Tait Peta, and Schafer Elizabeth, eds. Australian women's drama: Texts and feminisms. Sydney: Currency Press, 1997.

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Lyn, McCredden, ed. Bridgings: Readings in Australian women's poetry. Melbourne: Oxford University Press, 1996.

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Standish, Ann. Australia through women's eyes. North Melbourne,Vic: Australian Scholarly Publishing in association with State Library of Victoria, 2008.

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Australia through women's eyes. North Melbourne,Vic: Australian Scholarly Publishing in association with State Library of Victoria, 2008.

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Pearce, Sharyn. Shameless scribblers: Australian women's journalism, 1880-1995. Rockhampton, Qld: Central Queensland University Press, 1998.

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The Australian women's weekly: Memories and great moments from Australia's most loved magazine. Sydney: Park Street Press, 2008.

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Bartlett, Alison. Jamming the machinery: Contemporary Australian women's writing. Toowoomba, Qld: Association for the Study of Australian Literature, 1998.

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Book chapters on the topic "Australian Women's History"

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Jeffries, Peta. "Re-envisioning Australian history with once silenced voices and women's knowledge." In Gender, Feminist and Queer Studies, 9–21. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003316954-3.

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Grimshaw, Patricia. "Writing the History of Australian Women." In Writing Women’s History, 151–69. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21512-6_8.

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Grimshaw, Patricia. "Transnationalism and the Writing of Australian Women’s History." In Transnationalism, Nationalism and Australian History, 69–85. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-5017-6_5.

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Whitehead, Kay. "Troubling Gender Relations with the Appointment of ‘That Lady Inspector’ in Post-suffrage South Australia." In ‘Femininity’ and the History of Women's Education, 89–118. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54233-7_5.

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Payton, Philip. "Bal-Maidens and Cousin Jenny: The Paradox of Women in Australia’s Historic Mining Communities." In Australia, Migration and Empire, 207–28. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22389-2_9.

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Kildea, Sue, and M. Wardaguga. "Childbirth in Australia: Aboriginal and Torres Strait Islander Women." In Science Across Cultures: the History of Non-Western Science, 275–86. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2599-9_26.

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Tolley, Julie Holbrook. "The History of Women in the South Australian Wine Industry, 1836–2003." In Wine, Society, and Globalization, 119–38. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230609907_7.

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Shearer, Julie. "‘Women’s Business’: Leah Purcell’s The Drover’s Wife and the Reclamation of Black Australian History." In Analysing Gender in Performance, 275–92. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-85574-1_18.

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Singley, Blake. "Not Such a ‘Bad Speculation’: Women, Cookbooks and Entrepreneurship in Late-Nineteenth-Century Australia." In Palgrave Studies in Economic History, 383–404. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33412-3_16.

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Kamaralli, Anna. "Race and the Female Star in Australasian Shakespeare." In The Palgrave Handbook of the History of Women on Stage, 701–28. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23828-5_31.

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Conference papers on the topic "Australian Women's History"

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Burns, Karen, and Harriet Edquist. "Women, Media, Design, and Material Culture in Australia, 1870-1920." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4017pbe75.

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Over the last forty years feminist historians have commented on the under-representation or marginalisation of women thinkers and makers in design, craft, and material culture. (Kirkham and Attfield, 1989; Attfield, 2000; Howard, 2000: Buckley, 1986; Buckley, 2020:). In response particular strategies have been developed to write women back into history. These methods expand the sites, objects and voices engaged in thinking about making and the space of the everyday world. The problem, however, is even more acute in Australia where we lack secondary histories of many design disciplines. With the notable exception of Julie Willis and Bronwyn Hanna (2001) or Burns and Edquist (1988) we have very few overview histories. This paper will examine women’s contribution to design thinking and making in Australia as a form of cultural history. It will explore the methods and challenges in developing a chronological and thematic history of women’s design making practice and design thinking in Australia from 1870 – 1920 where the subjects are not only designers but also journalists, novelists, exhibiters, and correspondents. We are interested in using media (exhibitions and print culture) as a prism: to examine how and where women spoke to design and making, what topics they addressed, and the ideas they formed to articulate the nexus between women, making and place.
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Affandi, Yuyun, M. Suryadilaga, and Musthofa Musthofa. "Australian Ulama Response to Ash-Shabuny's View on Sexual Abuse against Women." In Proceedings of the First International Conference on Islamic History and Civilization, ICON-ISHIC 2020, 14 October, Semarang, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.14-10-2020.2303854.

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Sitorukmi, Galuh, Bhisma Murti, and Yulia Lanti Retno Dewi. "Effect of Family History with Diabetes Mellitus on the Risk of Gestational Diabetes Mellitus: A Meta-Analysis." In The 7th International Conference on Public Health 2020. Masters Program in Public Health, Universitas Sebelas Maret, 2020. http://dx.doi.org/10.26911/the7thicph.05.55.

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Background: Gestational diabetes mellitus (GDM) is a serious pregnancy complication, in which women without previously diagnosed diabetes develop chronic hyperglycemia during gestation. Studies have revealed that the family history of diabetes is an important risk factor for the gestational diabetes mellitus. The purpose of this study was to investigate effect of family history with diabetes mellitus on the risk of gestational diabetes mellitus. Subjects and Method: This was meta-analysis and systematic review. The study was conducted by collecting published articles from Pubmed, Google Scholar, Scopus, Science Direct, and Springer Link electronic databases, from year 2010 to 2020. Keywords used risk factor, gestational diabetes mellitus, family history, and cross-sectional. The inclusion criteria were full text, using English language, using cross-sectional study design, and reporting adjusted odds ratio. The study population was pregnant women. Intervention was family history of diabetes mellitus with comparison no family history of diabetes mellitus. The study outcome was gestational diabetes mellitus. The collected articles were selected by PRISMA flow chart. The quantitative data were analyzed by random effect model using Revman 5.3. Results: 7 studies from Ethiopia, Malaysia, Philippines, Peru, Australia, and Tanzania were selected for this study. This study reported that family history of diabetes mellitus increased the risk of gestational diabetes mellitus 2.91 times than without family history (aOR= 2.91; 95% CI= 2.08 to 4.08; p<0.001). Conclusion: Family history of diabetes mellitus increases the risk of gestational diabetes mellitus. Keywords: gestational diabetes mellitus, diabetes mellitus, family history Correspondence: Galuh Sitorukmi. Masters Program in Public Health, Universitas Sebelas Maret. Jl. Ir. Sutami 36A, Surakarta 57126, Central Java. Email: galuh.sitorukmi1210@gmail.com. Mobile: 085799333013. DOI: https://doi.org/10.26911/the7thicph.05.55
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