Suchergebnisse

This article explores how the Enlightenment values of reason, freedom and progress has shaped and continues to shape the social welfare practices of Australian society. It demonstrates how the idealisms of colonialism cemented the universal narrative of progress into the very framework of civilisation, mapping the government's quest for perfection in light of its founding as a place of correction, a penal colony for Great Britain. Through an analysis of progress' manifestation into the realm of institutionalisation, it questions the very validity of Enlightenment sentiments and its latent paradoxical nature as a rationale for freedom, yet simultaneously, confinement and restriction. Using the development of the Female Orphan School Parramatta, from an early colonial orphanage to a mental asylum, it unlocks the possibility of modernity acting as a form of cannibalism, ironically consumed in destroying its own inherent structures and ideals through the practical manifestations of its ways of thinking. Drawing upon the work of Nietzsche and Baudrillard, the denunciation of metanarratives such as progress, is unveiled through an analysis of history's relativity. The postmodern conception of individual truth, Foucault's professing of discourse, gives rise to the notion of history as a product of contemporary society's knowledge, rather than an objective reflection of the past.

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.

This article focuses on the role Manning Clark played in popularising a critical reading of Australian history, especially between the early 1970s and his death in 1991. It also discusses Clark's influence on Paul Keating, Labor Prime Minister from 1991 to 1996. Finally, it explains the antipathy of Australian conservatives towards Clark; largely in light of Clark's views concerning 'civilisation', British 'heritage' and the dispossession of Aboriginal Australia.

This article focuses on the role Manning Clark played in popularising a critical reading of Australian history, especially between the early 1970s and his death in 1991. It also discusses Clark's influence on Paul Keating, Labor Prime Minister from 1991 to 1996. Finally, it explains the antipathy of Australian conservatives towards Clark; largely in light of Clark's views concerning 'civilisation', British 'heritage' and the dispossession of Aboriginal Australia.

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