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Di Yerbury, a collector of Australian art for 30 years, started collecting Indigenous art in the mid-1980s as CEO of the Australia Council of which the Aboriginal Arts Board was part. She has since built one of Australia's best-known private collections of Indigenous art. In 1992 she donated 25 Aboriginal artworks to Macquarie University, whose Vice-Chancellor and President she has been since 1987, to celebrate its Silver Jubilee, starting Macquarie's own Indigenous collection. Works from the combined Yerbury/Macquarie collections, displayed annually in the Macquarie University Art Gallery and elsewhere on campus, were the basis of a travelling exhibition to mark the Sydney Olympics in 2000 and the planned (later deferred) Commonwealth Heads of Government Meeting (CHOGM) in 2001. In October 2002, the second international conference of ICOM's UMAC opened at Macquarie with an exhibition from the collections and a floor-talk by Yerbury on which this paper is based. The term 'From Dreamtime to Machine Time', is borrowed from Trevor Nicholls whose series of paintings with that theme represented Australia in the 1990 Venice Biennale. The paper relates aspects of Australian history from the time of Creation, viewed through the eyes of some of the very diverse Indigenous artists represented in the collections. ; Di Yerbury colecciona arte Australiana hâ cerca de 30 anos, tendo iniciado a sua colecçào de arte indìgena em meados de década de 80 quando era presidente do Conselho Australiano, do qual a Direcçâo de Artes Aborigènes faz parte. Desde entâo, Yerbury reuniu urna das mais reputadas colecçôes privadas australianas de arte indigena. Em 1992, por ocasiào do Jubileu de Prata da Universidade de Macquarie (Nova Gales do Sul), da qual é Reitera desde 1987, Yerbury doou 25 obras aborigènes à Universidade. Esta doaçâo deu inicio à colecçào de arte aborigene da Universidade de Macquarie. As obras da colecçào Yerbury/Macquarie estâo permanentemente expostas na Galeria de Arte da Universidade, bem corno em outros locais do campus, tendo constituido a base de urna exposiçâo itinerante por ocasiâo dos jogos olimpicos de Sydney em 2000. A conferência anual do Comité Internacional do ICOM para os museus e colecçôes universitârias (UMAC) iniciou-se com urna visita à colecçào, guiada por Di Yerbury, na qual este artigo se baseou. A expressâo 'From Dreamtime to Machine Time' [em traducaci literal 'Do Tempo do Sonho ao Tempo da Maquina'] é de Trevor Nichols, um dos artistas que representou a Australia na Bienal de Veneza de 1990. Este artigo traça os principais aspectos da história australiana desde a època da 'criaçâo', através dos olhos de alguns dos artistas representados na colecçào Yerbury/Macquarie.

We will not renounce our part in the mission of our race, trustees under God, of the civilization of the world. God has not been preparing the English speaking and Teutonic peoples for a thousand years for nothing but vain [and] idle contemplation and self admiration. No! He has made us the master organizers of the world to establish system where chaos reigns. He has made us adept in government that we may administer government among savages and senile people. —U.S. Senator Albert Beveridge, ca. 1890

This paper analyses the militarisation of Australian history and culture thesis with specific reference to the increasing popularity of Anzac battlefield tourism. I argue that the militarisation thesis contains ontological and epistemological flaws that render it incapable of understanding the multifaceted ways in which Australians experience Anzac battlefield tours. I then argue that in order to study how Australians both at home and overseas respond to the upcoming Anzac Centenary researchers will need to deploy an empirically-grounded and multidisciplinary framework. I demonstrate how proponents of militarisation: (1) ignore the polymorphous properties of Anzac myths; (2) are complicit with constructions of 'moral panics' about young Australian tourists; (3) overlook the reflexive capacities of teachers, students and tourists with respect to military history and battlefield tours; and (4) disregard the complex and contradictory aspects of visits to battlefields. My counter-narrative relies both on Stuart Hall's work on popular culture and empirical studies of battlefield tourism from myriad disciplines.

This article explores the pioneering efforts of two Australian historians, Margaret Kiddle and Kathleen Fitzpatrick, to place issues of women and gender centrally in a narrative of Australia's past. While they were not the first women to enter the history profession in Australia, both women made a significant mark on the Australian history profession in the years after World War II. Furthermore, their first books represent the earliest scholarly Australian works in which women appeared as central figures. Their achievement was initially overlooked by feminists of the 1970s, but in retrospect can be viewed as a first step in subverting the dominant masculinity of Australian national identity.

List of maps -- Introduction -- Dramatis personae -- Prologue: risings and failings -- One: A conspiracy of silent soldiers -- Two: The circle closes -- Three: Court martial -- Four: The Hougoumont hustle -- Five: Fremantle Prison -- Six: The absconder -- Seven: A red letter day -- Eight: Bold Fenian plot -- Nine: On their way a-whaling -- Ten: Arrival in Fremantle -- Eleven: Making a break for it -- Twelve: The chase -- Thirteen: Flagging fortunes -- Fourteen: The aftermath -- Epilogue -- Bibliography -- Endnotes -- Index.

In a time of pandemics, war and climate change, fostering knowledge that transcends disciplinary boundaries is more important than ever. Economic history is one of the world's oldest interdisciplinary fields, with its prosperity dependent on connection and relevance to disciplinary behemoths economics and history. Australian Economic History is the first history of an interdisciplinary field in Australia, and the first to set the field's progress within the structures of Australian universities. It highlights the lived experience of doing interdisciplinary research, and how scholars have navigated the opportunities and challenges of this form of knowledge. These lessons are vital for those seeking to develop robust interdisciplinary conversations now and in the future.