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The failure of the Anzac legend

‘Our duty’, proclaimed Senator E. D. Millen, Australia’s Minister of Repatriation, ‘is … to labour together and build, even upon the initial mistakes and apparent failure inevitable in a national undertaking of this magnitude, that in the final analysis our work shall be proven solvent, sound, and justified by its achievements.’ 1 The Australian experience of resettling

in Unfit for heroes
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Reconstruction and Soldier Settlement in the Empire Between the Wars

Research on soldier settlement has to be set within the wider history of emigration and immigration. This book examines two parallel but complementary themes: the settlement of British soldiers in the overseas or 'white' dominions, Australia, Canada, New Zealand and South Africa, between 1915 and 1930. One must place soldier settlement within the larger context of imperial migration prior to 1914 in order to elicit the changes in attitude and policy which occurred after the armistice. The book discusses the changes to Anglo-dominion relations that were consequent upon the incorporation of British ex-service personnel into several overseas soldier settlement programmes, and unravels the responses of the dominion governments to such programmes. For instance, Canadians and Australians complained about the number of ex-imperials who arrived physically unfit and unable to undertake employment of any kind. The First World War made the British government to commit itself to a free passage scheme for its ex-service personnel between 1914 and 1922. The efforts of men such as L. S. Amery who attempted to establish a landed imperial yeomanry overseas is described. Anglicisation was revived in South Africa after the second Anglo-Boer War, and politicisation of the country's soldier settlement was an integral part of the larger debate on British immigration to South Africa. The Australian experience of resettling ex-servicemen on the land after World War I came at a great social and financial cost, and New Zealand's disappointing results demonstrated the nation's vulnerability to outside economic factors.

North America and Australia, where the pattern is widespread, the deleterious outcomes of which are recorded in this chapter and many other sources. As with the evidence for the existence of technical memes and types themselves found in everyday language 219 EXSELF.indb 219 30/07/2014 13:39:43 and classification systems, it is reasoned that indirect but substantial evidence for the impact of selfish culture-forms may be found in many of the habitual behavior patterns of individuals and groups in well established societies. The discussion then moves to the mounting

in The extended self
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5 Worldmaking in art Introduction As the previous chapters suggest, individuals and nations bring the past with them into the present. This chapter takes up that issue with reference to the theme of worldmaking, something that is concerned not only with the past, but also with the future, because it begins with the willingness and the ability to imagine a different world. Art is an important element in any worldmaking agenda, because it has always been a means to imagine other possibilities. In 2011, the Humanities Research Centre at the Australian National

in Art and human rights
Nineteenth-century stained glass and the international exhibitions, 1851– 1900

Windows for the world: nineteenth-century stained glass and the international exhibitions, 1851-1900 focuses on the display and reception of nineteenth-century stained glass in an international and secular context, by exploring the significance of the stained glass displayed at ten international exhibitions held in Britain, France, the USA and Australia between 1851 and 1900. International in scope, it is the first study to explore the global development of stained glass in this period, as showcased at, and influenced by, these international events.

Drawing on hundreds of contemporaneous written and visual sources, it identifies the artists and makers who exhibited stained glass, as well as those who reviewed and judged the exhibits. It also provides close readings of specific stained glass exhibits in relation to stylistic developments, material and technological innovations, iconographic themes and visual ideologies.

This monograph broadens approaches to post-medieval stained glass by placing stained glass in its wider cultural, political, economic and global contexts. It provides new perspectives and fresh interpretations of stained glass in these environments, through themed chapters, each of which highlight a different aspect of stained glass in the nineteenth century, including material taxonomies, modes of display, stylistic eclecticism, exhibitors’ international networks, production and consumption, nationalism and imperialism.

As such, the book challenges many of the major methodological and historiographical assumptions and paradigms relating to the study of stained glass. Its scope and range will have wide appeal to those interested in the history of stained glass as well as nineteenth-century culture more broadly.

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Material culture and tangible labour

With the increasing digitisation of almost every facet of human endeavour, concerns persist about ‘deskilling’ and precarious employment. The publishing industry has turned its energy to online and electronic media, and jobs continue to disappear from printing, publishing and journalism. The replacement of human labour with computerised technologies is not merely a contemporary issue; it has an established history dating from the mid-twentieth century. What is often missing from this record is an understanding of how the world of work is tightly interwoven with the tangible and affective worlds of material culture and design, even in ‘clean’ computerised environments. Workplace culture is not only made up of socio-political relationships and dynamics. It is also bound up with a world of things, with and through which the social and gendered processes of workplace life are enacted and experienced. Understanding how we interact with and interpret design is crucial for appreciating the complexities of the labour experience, particularly at times of technological disruption. Hot Metal reveals integral labour-design relationships through an examination of three decades in the printing industry, between the 1960s and 1980s. This was the period when hot-metal typesetting and letterpress was in decline; the early years of the ‘digital switch’. Using oral histories from an intriguing case-study – a doggedly traditional Government Printing Office in Australia – this book provides an evocative rendering of design culture and embodied practice in a context that was, like many workplaces, not quite ‘up-to-date’ with technology. Hot Metal is also history of how digital technologies ruptured and transformed working life in manufacturing. Rather than focusing solely on ‘official’ labour, this book will introduce the reader to workers’ clandestine creative practices; the making of things ‘on the side’.

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Foredoomed to failure?

outright failure? Within the dominions analysed, the attempt to create a landed imperial yeomanry was a spectacular disaster. Officially, Australia established between one and two thousand ex-imperials on the land, Canada less than 300, and South Africa and New Zealand none. Even with the inclusion of perhaps 1,0 ex-officers settled by private initiative in South Africa and Australia, a liberal estimate of

in Unfit for heroes
Exhibitors and their networks

rapidly expanding global market for stained glass. A global stained glass industry In the early nineteenth century, stained glass was an art form predominantly associated with Western Europe, and almost exclusively produced in Britain, France, Belgium, the Netherlands, Switzerland, Italy, and Germanic regions; but, by the 1850s, the USA and the British settler colonies in Australia and Canada had also begun producing stained glass, as well as importing windows. The international exhibitions chart the expansion of the stained glass industry, and the growth of stained

in Windows for the world
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elements of human self-identity.3 Award-winning designers like the Australian architect Glenn Murcutt have also captured people’s imagination with iconic houses carefully set into the landscape (fig. 1.1).4 In such cases, as with the earlier houses by Greene & Greene in the suburbs of Los Angeles (fig. 1.2),5 the work of some specially gifted architects may come to represent, if only for a limited period, not only an idealized form of dwelling, but a sense of place and preferred way of life for a whole country: the ‘Great Australian Dream’ as it is known in the former

in The extended self
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Labour, design and culture

1 Introduction: labour, design and culture In March 2015 I was paid a visit by Grant Hofmeyer, a printer who had trained as a letterpress-machinist in the early 1970s. Grant had worked at the South Australian Government Printing Office for much of his life, and he continues his letterpress practice from a home studio. I was accustomed to meeting such printers; for years I had interviewed people like Grant about their attitudes to craft skill and technological change. We sat in a characterless university waiting area, and I made a passing reference to a Xerox

in Hot metal