Brenda Smith's parents lived throuh two World Wars and the Depression. As an adult migrant arriving in Australia from England in 1970, when she looked back she realised her family spoke very little about what they had endured and she was not even aware of them going through the Spanish Flu pandemic. Smith has written a diary since 2009 and as a consquence of her family's earlier experiences with similar but lack of documentation and stories passed on, was determined to chronicle her experiences during the COVID-19 pandemic covering 2020-2021. This pandemic continues unabated in its third year (2022). The journal documents the daily life of living through the COVID-19 pandemic and the influences it had uopon the local community from both locally and interantionallycovid-19, coronavirus pandemic, journal, person, personal narrative

An Oral History Project - An Australia Remembers New Work Project funded by the Department of Employment, Education and Training. Sponsored by Northern Metropolitan College of TAFE. The Australia Remembers 1945-1995 campaign was a pageant of events commemorating the end of World War II. 34 chapters include reminiscences from 34 men and women mainly from the Watsonia Returned Servicemen's League recording their memories of the war years for the benefit of the [Shire of] Diamond Valley community. This copy is signed by Eleanor Sumner who is also a contributor.This book comprises a collection of unique and individual personal narratives of World War 2, written 50 years after the war and preserved for future generations. The collection is linked through the association of the participants living in the Diamond Valley area in Melbourne's north in 1995.roy hillard, eleanor sumner, bob campbell, dulcie cox, lancelot riky, charles nelson, reg johnson, frank collings, george armstrong, stan ware, lorna mill, ann hewett, reg angwin, ruby talbot, dion hogan, elean dansey, mary keppel, charles baker, elaine grigg, len grigg, kathleen kennedy, arthur dykes, eric wood, frances jensen, mary edwards, frank wilson, harry hewett, mick marks, audrey wass, ian wall, joyce anderson, john grant, jean gee, noel mcintyre, allan dunn, reminscences, oral history, world war 1939-1945, world war 2, ww2, australia remembers, northern metropolitan college of tafe, watsonia, personal narrative, watsonia barracks

"Art is the vehicule for communications far Beyond the confines of a space, while design is the aesthetic cradle in which messages are nurtured and processed." "A 586 rework of the iconic building that has withstood the redevelopment of the Melbourne Docklands and defied the odds. On display a large format print 700mm x 1400mm print. Also a limited run of smaller prints on archival paper also available to support Melbourne's first non-profit charitible organisation that is still self funded, ie. not government funded." During the Open House Melbourne 30-31 July 2011, the artist nicknamed "586" participated in one of the Norla Dome Project Space events sponsored by Bendigo Wealth. Made in Melbourne, 586 is an urban digital experimentalist who blends social narrative with found image creating messages that inspire social consciousness and free thought. Cast in a local foundry back in 1991, 586 was a number, amid hundreds of men working between the ladie and the furnace in a clock on - clock off automated industrious landscape. Legend tells of a time when correspondance to workers was addressed to their number, not their name. Disapproval spread rapidly and a revoit soon followed, eventually the power of the masses won out, but the demoralizing treatment of the worker would go on to shape 586's perception and became the catalyst for a personal protest against social imbalance. This print was on display and smaller prints were also sold to raised funds for the Mission.DigitalLarge digital print of a design that overlays various symbols ( 4 flying angels ), the sails of a sailing ship and contemporary cityscapes and seascapes. centrally features a full photograph of the Mission to seafarers building at 717 Flinders St. Melbourne. Mounted in a large black frame and glazed with perspex .mission to seafarers, flinders street, melbourne, windvane, dome, flying angel, sea, norla dome, bendigo wealth, artist 586, 2011, artwork-paintings, open house, norla dome project space

This document one of several papers and objects from the estate of Mr Arthur O. Dixon, an ex-master mariner and later smallhold farmer. Other correspondence and papers gifted to the Mission indicates the year 1919 (post his service in World War 1) was a time of some changes for Mr Dixon, possibly leading to his subsequent re-location to Australia show that he served as a crew member on the Merchant vessel "Hororata" a vessel which is noted in the MTSV records including an image of the crew in the early 1920s. (see VC record ).This vessel is also mentioned in a narrative poem by a de-mobbed Soldier of WW1 as the transport for a number of returning servicemen and families. The poem is held in the National Library of Australia.Unusually for the early 20th C. era of Mr Dixon's service at sea two images of Mr Dixon were included in the gift of papers. Personal objects included an unusual small travel size New Testament (see VC record ) heavily annotated provide further insights into the experience of early 20th C. seafarers. Officially printed document, and official copy of an original certificate of competency issued by the office of the Register General of Shipping and Seamen recognising Arthur Oswald Dixon as an Extra Master. At right angles to the certificate is a small margin at left indication the current document is an approved copy in 1919 of the original certificate issued in 1904. See image for both sides of the document for extensive text.certificate of competency, master, captain, sailor, arthur oswald dixon, seamanship, sailors, seamen, seafarers, officers, 1904

Index, bibliography, notes, ill, maps, p.722.non-fictionVietnam became the Western world's most divisive modern conflict, precipitating a battlefield humiliation for France in 1954, then a vastly greater one for the United States in 1975. Max Hastings has spent the past three years interviewing scores of participants on both sides, as well as researching a multitude of American and Vietnamese documents and memoirs, to create an epic narrative of an epic struggle. He portrays the set pieces of Dienbienphu, the Tet offensive, the air blitz of North Vietnam, and less familiar battles such as the bloodbath at Daido, where a US Marine battalion was almost wiped out, together with extraordinary recollections of Ho Chi Minh's warriors. Here are the vivid realities of strife amid jungle and paddies that killed 2 million people. Many writers treat the war as a US tragedy, yet Hastings sees it as overwhelmingly that of the Vietnamese people, of whom forty died for every American. While all the world has seen the image of a screaming, naked girl seared by napalm, it forgets countless eviscerations, beheadings and murders carried out by the communists. The people of both former Vietnams paid a bitter price for the Northerners' victory in privation and oppression. Here is testimony from Vietcong guerrillas, Southern paratroopers, Saigon bargirls and Hanoi students alongside that of infantrymen from South Dakota, Marines from North Carolina, Huey pilots from Arkansas.vietnam war 1961-1975 – history, vietnam war 1961-1975 – personal recollections

Index, bibliography, ill, maps, sound disc, p.158.This publication is a unique and highly readable contribution to the commemoration of the centenary of the Anzacs in World War 1. Ted Egan presents an historical documentation of the Anzacs and the ordinary men, women and children of the two young nations of Australia and New Zealand, forever affected by this tragic episode in world history. Set against the political background of the day, succinctly revealed, Egan brings a clarity and immediacy to this period by his interweaving of personal stories, deeply moving songs, a collection of public and personal photos and an historical narrative that speaks directly to the reader, engaging our hearts as well as our heads. It is a story of the loss of innocence of two young nations, for a generation and beyond. Amusing anecdotes and stories of great courage and ingenuity leaven, to some extent, the brutal truth behind the personal stories.anzac - history, anzac - songs and music, anzac - stories

This book is, in many ways, the most informative we have yet had about the American military effort in that country, in place of polemic, overwrought personal testimony or mere tatical narrative - and that about sums up the fare previously on offer.vietnam - history - 1945-1975., vietnamese communist party, american military

This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl.   Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna.

Entry into the 2009 Nillumbik Prize. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Angela Nagel's creative practice is informed by an interest in the human condition, universal symbols, mythology and Jung's theory on the 'collective unconscious'. Her hybrid part human/animal creatures reference introduced species and indigenous Australian animals as a way for her to explore a personal mythology, and narrative, of home and environment. Recent work is developing around the relationship of ceramics to other materials such as glass, printmaking and found objects. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Human and animal like figure in the stance reminiscent of classical sculpture. Hand built ceramics with engobes, oxides, glaze and gold leaf Medium: Porcelain, oxide, underglazeangela nagel, nillumbik shire council collection, victoria, nillumbik prize, ceramic

Chris Pittard is a painter who has been working with clay for over 15 years. Pittard studied Fine Arts at RMIT and VCA and has exhibited paintings for a number of years. Pittard divides his time between teaching, drawing and painting and working in the ceramics studio where he creates distinctive pieces. Chris Pittard's ceramic pieces translate the narrative to the vessel. His vessels speak to us about our place and even his personal stories become more universal expressions.In early 2005 there was a flood which raged through the creeks cutting through the Shire of Nillumbik (Eltham). Not usually affected by catastrophe, these surging waters destroyed bridges and threatened roads. When the water subsided along the banks of the creek, trees had fallen, flotsam and jetsam piled up and even weeks later the long grass flattened by the flood continued to map the raging waters flow. The combination of slightly threatening and destructive forces and eerie beauty interested me. This at a time when world events of a far more horrific and tragic nature where presented to us by strangely beautiful coloured photos in our daily papers. These connections may not be obvious but it was certainly something I was thinking about while making this ceramic piece.flood, chris pittard, eltham, nillumbik

Juli HAAS (26 April 1952- 02 March 2014) Born Melbourne Juli HAAS (1952-2013) Born Melbourne Juli Haas mainly produced watercolours, artist’s books and limited edition prints using the printmaking technique of Drypoint. She often explores the lives of everyday people with her work often portraying the darker side of human nature in an interior world filled with fantasy and absurdity. Themes throughout her work incorporate the use of childhood memory, place and a sense of personal history. Inspiration is derived from observing her own environment, which is then developed into a portrayal of the absurdity and drama of everyday human situations. Haas applies layers of intense and vibrant colour, which also serves to reinforce the narrative element that runs through the work. The psychological drama that informs this narrative exposes the darker side of life, expressing elements of anger, violence and isolation. Juli Haas obtained the following qualifications: * 1994-95 Master of Arts (Research). Monash University, Victoria * 1989-90 Graduate Diploma of Arts (Visual Arts), Monash University, Victoria * 1987-89 Bachelor Of Arts (Visual Arts), Gippsland Institute of Advanced Education, Victoria (now Federation University Australia) * 1971-74 Fine Arts, Caulfield Institute Of Technology, Victoria. Haas exhibited in most states of Australia and participated in numerous group shows. She is represented in most major Australian collections including the National Gallery of Australia. Career highlights include winning the Sir John Sulman prize in 1995 at the Art Gallery of NSW and in 1994 and 1997 the Martin Hanson Memorial Works on Paper Prize. In 2008 her artist’s book A Wife Of Silver was acquired for the Public Art Collection of the Arts Centre Melbourne as part of the Maxwell and Merle Silver Bequest. Career highlights include winning the Sir John Sulman prize in 1995; and in 1994 and 1997 the Martin Hanson Memorial Works on Paper Prize. Framed limited etching by Julie Haas. juli haas, gippsland campus, churchill, gippsland institute of advanced education, alumni

Booknon-fictionPrisoners and Prisons - Japanese - Prisoners of war - Personal Narratives

Index, ill, maps, p.328.non-fictionAn account of the Gallipoli campaignworld war 1914-1918 -campaigns - gallipoli, world war 1914-1918 - personal recollections

Ill, p.207.non-fictionPersonal recollections of German submarinersworld war 1914-1918 - naval operations - submarines, world war 1914-1918 - personal recollections - german

Narratives of Kingston was an oral history project where the personal memories of residents were collected and compiled into a reference book. The image suggests there was also an exhibition of personal photographs as the people depicted are standing in front of photo boards.Colour photograph taken at the launch of the Narratives of Kingston project. Depicted in the image (L to R) are Ron Jacobs, President Chelsea Historical Society, Sylvia Roberts, granddaughter of Roderick Mills/Saltbush Bill, Mayor Arthur Athanasopoulos, and Piri White, member of the Narratives team. People pictured are standing in front of a photo board.Handwritten in red ink on reverse: K000740.tif Launch of Narratives of Kingston / Ron Jacobs - Presidetn Chelsea Hist Soc / Sylvia Roberts - granddaughter of / Roderick Mills/Saltbush Bill / Mayor Arthur - Mayor of Kingston / Piri White - member of Narratives Teamoral history, kingston

Illustrated book with dust jacket. Book has a light brown cover with abbreviated title authors' and publisher's names embossed in silver on the spine. Dust jacket has background of shades of brown, off-white and grey. On the front is a photograph 'Australian infantrymen evacuate a wounded soldier on a stretcher to the beach during the landing at Balikpapan, Borneo, July 1945, along with the title printed in brown and navy, and the authors names printed in white. On the spine, the abbreviated title is printed in brown, authors names in black, and publishers name in white. On the back cover is a photograph of a soldier with arm in a sling (in an advanced dressing station on the Menin Road near Ypres, Belgium, 20 September 1917) Also on the back cover is a quote from Graham Edwards (Vietnam veteran, veteran's advocate and former MP) and a list of other contributors to the book. non-fictionWar has been an accelerator of the advances in medical treatment and surgery. As modern weaponry became more destructive, medicine developed techniques and procedures to deal with the volume and nature of battlefield casualties. This book is a collection of chapters by historians, medical practitioners and researchers, former and serving military medical officers, surgeons, nurses and veterans, who explore the impact of war, wounds and trauma through the historical record, reported narratives and personal experiences.war-medical aspects, medicine-military-history-australia, soldiers-wounds and injuries-treatment-australia, alfred nurses

256 p. : ill. ; 23 cm.non-fictionThis is not a history of the war years. It is an attempt to record my personal experience of events in three widely separated places in which I served in positions of some authority during the Second World War -- in the United States, the Middle East and India. It has been put together mostly from my personal diaries written day to day as things happened. There is very little in this book for which I do not have personal and detailed record of facts and opinions, put down at the time. I may say that my 1939-46 diaries contain over 700,000 words, so writing this book has been a matter of considerable selection and compression.I have written this story mainly in narrative form, but have introduced a number of selected diary entries from time to time which I think may help to reflect local colour and thinking at the time.I hope that this account of one man’s personal experience may fill in a few gaps in the record. world war 1939-1945, lord casey, richard gavin gardiner casey

260 p.; 23 cmnon-fictionAeneas Gunn achieved posthumous fame in 1908 as the Maluka, following the publication of Jeannie (Mrs Aeneas) Gunn's acclaimed novel, We of the Never-Never. The story of Aeneas James Gunn prior to and including his year managing a remote cattle station in the Northern Territory can now be told, thanks to the discovery of a large cache of his letters. Gunn's voice enriches the narrative with deeply personal, perceptive and often humorous glimpses into life in Australia during the last decades of colonisation. A proud and capable literary man, Gunn found his vulnerabilities exposed in unusual circumstances. His Anglocentric views would, in time, be tempered by the woman he loved and admired. aeneas gunn

The cross design in refinding tomorrow represents a converging of pathways – pathways of connection that are coming together to ultimately form a whole. The crossroads is a powerful symbol of a moment in time, a positive reminder of the past and a chance to ponder the future. There is movement through time in these designs and a chance that something lost will be found again. I trust that I will always carry with me in my heart, body and spirit, the wisdom of knowledge from my ancestors.Lisa Waup is a mixed-cultural First Nations artist and curator who was born in Narrm (Melbourne). Her multidisciplinary practice encompasses a diverse range of media including weaving, printmaking, photography, sculpture, fashion, and digital art. With a deep connection to the symbolic power of materials, Lisa’s work reflects her personal experiences, family history, Country, and broader historical narratives. Through her practice, Lisa weaves together threads of lost history, ancestral relationships, motherhood, and the passage of time – which culminates in contemporary expressions that speak to her past, present and future. Lisa Waup holds a Master of Contemporary Art from the University of Melbourne and her work is held in both public and private collections in Australia and internationally. australian first nations art, indigenous art, identity, cultural story, women in art

Ill, index, p.194.non-fictionThe bestselling book from one of the finest investigative journalists of our time. The heroes of John Pilger's narrative are the many ordinary people he has witnessed coping with their lives in difficult and often brutal conditions- dissidents in the Soviet Union; victims of conflicts in Vietnam, Cambodia, Africa, India, the Middle East and Central America. They also include the Irish labouring generation of his great-great-grandfather, transported in irons to Australia for uttering 'unlawful oaths'. It is a vivid, engrossing and sometimes blackly amusing personal story covering the periods for which his journalism is renowned. John Pilger has witnessed many of the major world upheavals of the past thirty years, as well as the daily realities of injustices normally hidden from society's view. His reporting of these events has always been distinguished by his tenaciously researched facts - especially facts that governments and powerful interests would prefer to keep secret - and by his unerring and always compassionate pursuit of the truth. Highlights the silence of early historians about violent conflict; discusses contemporary issues; includes interviews with B. Randall and C. Perkins. journalism - 20th century - history, social conflict - 20th century - history