Used by Chris Gray at Balwyn State School.School history readerCream coloured book with no back cover. Cover has written on it: "Whitcombe's Vivid History Reader Grade III Myths, Legends and Stories of World History" Front cover picture Roman soldier, man in chains, and two men sitting. Has names Angeline Giveria(?) on cover and page 1 and Christopher Gray on inside cover school book, history reader, chris cray

Pamphlet - 3 fold A4 on recycled paper, titled "The economics of transport - Smarter Transport - Better Cities", outlining in a series of Monographs on public transport in Melbourne, Sydney, Infrastructure investment, economics, transport projects, fares, mass transit projects. Provides a forum overview. preface by Ross Garnaut, transport expenditure compared to other cities and transport myths.trams, tramways, public transport, melbourne, finances, fares, proposals, management, economics

Hayley Millar Baker is a Gunditjmara and Djabwurrung artist. Her series I Will Survive is about the cautionary tales and bush survival stories that Millar Baker heard as a child. Her Aboriginal and migrant parents and grandparents shared warnings, myths and ghost stories with her. As Millar Baker grew up, these stories evolved, becoming more emotionally charged with each retelling. As stories are retold, they are reformed and embellished, sometimes becoming more vivid and meaningful. In I Will Survive, Millar Baker inserts herself into the stories. Millar Baker says, ‘Recalling memories formed in my childhood and ruminating on these stories in adulthood, I can’t help but dissect my memory’s influences and influencers, and what roles my Aboriginal and migrant parents and grandparents played in feeding lessons and myths into my subconscious.’

Hayley Millar Baker is a Gunditjmara and Djabwurrung artist. Her series I Will Survive is about the cautionary tales and bush survival stories that Millar Baker heard as a child. Her Aboriginal and migrant parents and grandparents shared warnings, myths, and ghost stories with her. As Millar Baker grew up, these stories evolved, becoming more emotionally charged with each retelling. As stories are retold, they are reformed and embellished, sometimes becoming more vivid and meaningful. In I Will Survive, Millar Baker inserts herself into the stories. Millar Baker says, ‘Recalling memories formed in my childhood and ruminating on these stories in adulthood, I can’t help but dissect my memory’s influences and influencers, and what roles my Aboriginal and migrant parents and grandparents played in feeding lessons and myths into my subconscious.’

Book titled The Myth of the Level Playing Field, by Dr John White, Global Chief Executive, Visy Industries. La Trobe University, Bendigo The fourth Sir John Quick Bendigo Lecture. 15 September 1997. The cover is in shades of blue and white. It has a small photo of Dr John White above a picture of a building. Industries and employment are discussed in the lecture.bendigo, history, long gully history group, the long gully history group - the myth of the level playing field, dr john white, la trobe university bendigo, the fourth sir john quick bendigo lecture, visy industries, hugh mackay, australian constitution, bhp, berlei, john howard, business council of australia, transfield defence systems, williamstown naval dockyard, cockatoo naval dockyard, newcastle state dockyard, royal australian navy, richard pratt, australian defence industries, australian submarine corporation, lee kuan yew

La Trobe University, Sir John Quick annual lectureMichele Matthews Collection - 1997 Sir John Quick Bendigo Lecture - "The Myth of the Level Playing Field". Presented by Dr John White, Global Chief Executive, Visy Industries, on Monday 15 September 1997 at 6:45 PM; in the McKay Lecture Theatre, La Trobe University. B&W printed lecture booklet and program with blue light card cover; and invitation.sir john quick annual lecture, dr john white

This is Boyer lecture 5 of 'Artificial Australia' by Robin Boyd. 'Artificial Australia' consisted of five lectures given by Robin Boyd in 1967 on the Australian Broadcasting Commission radio. The lectures were (1) Creative Man in a Frontier Society, (2) The Architecture of Ideas, (3) Integrity in the Artificial Object, (4) The Environmental Arts in Australia. (5) The Australian Myth in the Modern World. Sanyo CDboyer lecture, artificial australia, robin boyd

James GLEESON (21 November 1915-20 October 2008) Born Hornsby, Sydney, New South Wales The paintings of James Gleeson reveal powerful and complex relationships between the human psyche and human experience - between myth and reality. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Australian Surrealismartwork, art, james gleeson, surrealism, australian surrealism

Deadly Secrets tells the engrossing true story of the Allied raids launched on Singapore in World War II. Laying many myths to rest, military historian Lynette Ramsay Silver, the author of The Bridge At Parit Sulong, outlines Operation Jaywick, which used a stolen Japanese fishing boat, renamed Krait, to attack Singapore Harbour. It also discusses the more ambitious raid; Operation Rimau.Soft Cover without Dust Jacket – 464 pagesworld war ii, ww2, australian commandos, australian special operations, operation jaywick, operation rimau

Baskerville’s Echo references the Ancient Greek myth of the nymph Echo. The goddess Hear punished Echo for misusing her gift of voice by ensuring that she could only echo the voice of others. Echo falls in love with Narcissus, who spurns her and instead falls in love with his own reflection in a pool and drowns trying to reach it. Grieving, Echo fades away until only her voice remains.patinated plasterecho, female, figure, margaret baskerville, ancient greek myth, nymph, sculpture, relief, plaster

This contains Lecture 3 (28 min 56 sec) and Lecture 4 (28 min 32 sec) of the series Artificial Australia by Robin Boyd. Artificial Australia was the title of a five Boyer lectures given by Robin Boyd in 1967 on the Australian Broadcasting Commission radio. The lectures were (1) Creative Man in a Frontier Society, (2) The Architecture of Ideas, (3) Integrity in the Artificial Object, (4) The Environmental Arts in Australia. (5) The Australian Myth in the Modern World.Sanyo CDboyer lecture, artificial australia, robin boyd

Contents: Some myths about language learning/ Overview of the philosophy and method/ What you can expect to learn/ The typical session/ A sample sequence for beginners/ Going ahead with your learning/ Developing vocabulary/ The framework of language: learning grammar/ Intermediate and advanced language learning/ Learning stories/ More on the written word/ Problems and plateaus in language learning/ Appendix A: how to develop a program in your community/ Appendix B: applying master-apprentice principles to the classroom/ Appendix C: Drawings.B&w illustrations, b&w photographslanguage revival, language maintenance, master apprentice language learning, language education

A critique of the adaption of American culture in Australian popular culture, where only the worst or silliest things from the US are adopted. Boyd suggests the colonial, unambitious and rigid brand of masculinity that characterises the "Aussie myth" hinders the development of an imaginative and creative social climate that manifests in a superficial appropriation of American culture. Boyd is not critical of US culture itself, in fact he has a great appreciation of US culture. He suggests that the Australian brand of Americanisation is only a superficial commercial exploitation of the American dream. It concludes with Boyd rallying for the development of a unique Australian originality with increasing connections to Asia.Typewritten, pencil edits (pages 22a and 22b added after page 22), quarto, 24 pagesamericanisation, american culture, australian culture, masculinity, cultural myths, australian values, social attitudes, ussr, asia, california, sidney nolan, alan moorehead, patrick white, donald horne, john anderson, robin boyd, manuscript

Robin Boyd was involved in creating several television programmes, as author and presenter. 'Design in Australia' was an eight part series for the ABC television series 'University of the Air'. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In Part 1, Boyd discusses the general framework of the series in which the relationship between an Australian identity and a homogenising cultural force reinforced by technology and mass production is explored. Boyd questions the wholesale acceptance of imported ideas and goods, and instead advocates a critical examination of the Australian design culture, a search of an originality that does not fall into the myths of bush values.This is a draft script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965. Item D191 is the revised version.Typewritten (c copy), foolscap, 12 pagesuniversity of the air, design in australia, robin boyd, australian design, nationality, national style, manuscript

An issue published to celebrate the founding of Victoria concentrating on what Victoria is today (1984), how it developed and where it is going. The index lists: 3,5: 150 Years of Progress 7: The original settlers 9: The scandals 13,15:The facts and the myth 17:Home of sports mania 19: The changing face of our fashion 20: The young take over 22: Timeline 25:Immigration and eating habits 27:From the start, most have stuck with city life 28, 29: Art makes its mark 38: The great hair revolution 42,43:Victoria's greatest sons and daughters 30,32,40,41,44,46,49,50,51,52,53,54,55: Program of eventsFifty-six page souvenir magazine celebrating Victoria's 150th anniversaryvictoria's 150th anniversary, 150th anniversary tankard, dr bernard barrett, the original sttlers, 150th anniversary plate, edward henty, william dutton, alkfred felton, heidelberg school, 150th anniversary program, hairstyles, advertisments 1980's

Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In part 1, Boyd discusses the general framework of the series in which the relationship between an Australian identity and a homogenising cultural force, reinforced by technology and mass production, is explored. Boyd questions the wholesale acceptance of imported ideas and goods, and instead advocates a critical examination of the Australian design culture, a search of an originality that does not fall into the myths of bush values. (Same content as item D184, differing Video cues of LHS of page.)This is a script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965. Item D184 is the draft version.Typewritten (c copy), foolscap, 9 pagesuniversity of the air, design in australia, robin boyd, australian design, nationality, national style, manuscript, ohm2022, ohm2022_30

Some time before the end of the year 1962, two great panels of Aboriginal art were begun. They were painted for part of a screen placed behind the Communion table in the Yirrkala church, and represented the two main, creative legends governing the lives, the behaviour and the ritual of the Aborigines belonging to a wide area of northeast Arnhem Land. Gives a brief outline of circumstances surrounding the panels. Lists the artists for each moiety. Maps show the territory of the people mentioned in the text. For each panel, there is a description of each section and an explanation of associated myths. Dua panel - the Djankawu journeys. Yiritja panel - legend of Banaitja. Glossary of terms.b&w art reproductionsyirrkala, yirrkala church, arnhem land

Murray WALKER (1937- ) Born Ballarat, Victoria Described as one of Melbourne's Figurative Expressionists Murray Walker educated at the Ballarat Technical Art School (a division of the Ballarat School of Mines) in 1952 and 1953, followed by the National Gallery School and RMIT Art school, Melbourne between 1858 and 1859. He studied at the Slade School of Fine Art (London) from 1960 to 1962, with a Summer School at the Academia della Belle Arti, Perugia, Italy in 1961. Myth, narrative and people form an important place in the work of Murray Walker, and he has worked in many mediums including printmaking, painting, collage, assemblage, ceramics and tapestry design. Humour and storytelling are a feature of his work Figurative ExpressionismGift of Dr Graeme Williams OAMFramed hand coloured pen drawing of a number of life modelsavailable, alumni, life models, nude, life drawing

Metal tankards often come with a glass-bottom. There is a legend that the glass-bottomed tankard was developed as a way of refusing the King's shilling, i.e. conscription into the British army or navy. The drinker could see the coin in the bottom of the glass and refuse the drink, thereby avoiding conscription. However, this is likely to be a myth, for the Navy could use force by using “press gangs” to conscript recruits rendering this type of deception unnecessary. Other legends are that in a bar fight, a recipient with a glass bottom tankard could see if a first punch was thrown whilst they had the tankard raised to drink. Another has it that the glass bottom was implemented so the drinker while drinking could observe his surroundings and the dubious people within the Tavern such as thieves, ladies of the night or anyone that could, or may do him harm. A further story is that the glass bottom merely allowed the drinker to judge the clarity of their drink while forgoing the expense of using a fragile and expensive pint glass. If this item is an early tankard from the 18th or 19th century it would be a significant item. Also if a known maker from these time periods could be established it would make the tankard quite valuable. Tankards from this time are snapshots of peoples past everyday lives and form a significant part of our social history so are worthy of preservation in all there forms. Pewter tankard with glass bottom, marine encrusted, recovered from unknown shipwreck.tankard, pewter, mug, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, vessel, drink, tavern, drinkware, kings shilling

Admiralty Arch is a landmark building in London which incorporates an archway providing road and pedestrian access between The Mall, which extends to the southwest, and Trafalgar Square to the northeast. Admiralty Arch, commissioned by King Edward VII in memory of his mother, Queen Victoria and designed by Aston Webb is now a Grade I listed building. In the past, it served as residence of the First Sea Lord and was used by the Admiralty. Until 2011, the building housed government offices, but in 2012 the government sold a 125-year lease over the building to a property developer (Prime Investors Capital, run by Rafael Serrano) for redevelopment into a luxury hotel, restaurant and apartments. (Wikipedia) On the inside wall of the northernmost arch is a small protrusion the size and shape of a human nose. It was placed there by artist Rick Buckley in 1997 as part of a campaign against the "Big Brother" society. The nose is at a height of about seven feet, and sits at waist height for anyone riding through the arch on a horse. Prior to Buckley being unmasked in 2011 by the London Evening Standard, an urban myth grew that the nose is there in honour of the Duke of Wellington, who was known for having a particularly large nose.(wikipedia)admiralty arch, london, nose

Ash KEATING Among fifteen finalists this artwork won the 2012 Guirguis New Art Prize, a prestigious national acquisitive biennial art prize administered by Federation University Australia. The Guirguis New Art Prize (GNAP) is a national acquisitive $20,000 contemporary art prize which presents a selection of Australia's most exciting contemporary artists with works that explore and embrace new ways of artistic expression, utilising existing mediums and new technologies in innovative ways. Initiated and generously supported by local Ballarat surgeon Mr Mark Guirguis, this prestigious art prize is administered by the Federation University Australia (FedUni). As a local philanthropist and art collector, in developing the Prize, Mark Guirguis' aims were to celebrate the significance of the arts to communities and to Ballarat, emphasising contemporary art and 'living' culture, and to highlight FedUni's Arts Academy. Artist Ash Keating works across a conceptual, site-responsive and often collaborative art practice that incorporates painting, sculpture, installation, video, performance and public interventions, and has referenced a wide range of social and environmental issues within his art. Frequently working beyond the gallery, and often harnessing community narrative and energy, his work also draws upon myth, ritual and ceremony. 'West Park Proposition', 2012, is a three channel and screen video installation, utilising multiple camera video documentation of an endurance painting intervention undertaken on the morning of 01 September 2012 on the east facing wall of a newly built tilt-slab industrial building, situated on the direct edge of the current urban and rural boundary in Truganina, Victoria. The multi-screen work documents an endurance guerilla-style action painting intervention and ritualised painting performance in which a symbolic violence is enacted against a storehouse of commodity production and consumption. Upon winning the award artists Ash Keating said; “The work was made near Ballarat on the Deer Park bypass. It is an aesthetic comment about the way these new tilt-slab industrial buildings spring up without caring for the environment." The work, which took eight hours to create, was about reclaiming the space from “cost-effective architecture” without any aesthetics. The inaugural judge for the Prize, Jason Smith, Director, Heide Museum of Modern Art (MoMA) said, "Selecting the winner of this inaugural GNAP was exhilarating and excruciating: exhilarating because the seriousness of each artist's enterprise, and their uncompromising resolution of concepts, has created an inaugural exhibition of exceptional power. This first GNAP is a survey of some of the most poetic and provocative imaginations working in Australia today. Selecting one winner from such a show in which each of these artists has in some way transformed my thinking about the world was the excruciating part. Ash Keating's work West Park Proposition, 2012 kept drawing me back in the several hours I spent viewing the works. It simultaneously affirms the political and critical role of the artist as a key agent of change and action, and someone who reminds us of the beauty and resilience of humanity and nature in the face of unrelenting change. As a work combining performance, collaboration and hope, Keating's West Park Proposition is a work of immense and compelling poetry."artist, artwork, keating, ash keating, guirguis, guirguis new art prize, gnap, gnap13

Historical work by the Secretary of the Board for the Protection of the Aborigines. (c.1876) He describes his approach to his work, the collection of language information, culture and heritage, anatomical data, drawings of the traditional lifestyles and encounters with the people. Includes interesting observations on the works of William Thomas, Alfred W, Howitt, Philip Chaney, Albert A.C. La Souef, John Moore Davis and Rev. William Ridley.robert brough smyth, anthropology, aboriginal social life and customs, children, behaviour, death and burial customs, daily life, food, diseases, weapons, shields, boomerang, vessels, baskets, message sticks, stone tool technology, fire, canoes, myths, stories

Charles Edward Fulford, Ltd Leeds, England. The company founded in Australia in 1897 produced patent medicines, manufacturing products including Bile Beans and Zam-Buk ointment. Charles concocted ‘Bile Beans for Biliousness’, supposedly from a secret native recipe discovered by an eminent scientist – all a myth! Phenomenal sales were achieved through door-to-door leafleting, free gifts, and blanket advertising in the popular press, featuring emotive personal stories of miraculous, life-changing cures, presented as news items. The Company was first established in the UK in 1899 after achieving success in Australia. Charles’ brother Frank Harris Fulford, and entrepreneur, came from Canada to Leeds in 1902 to manage the British division of Charles's manufacturing business, C. E. Fulford Limited The company had to face damaging adverse publicity in 1905 when the judge in a case over the Bile Beans name declared that the business was founded on ‘fraud, impudence and advertisement’. But it survived, indeed flourished, expanding internationally. His other ‘secret’ remedy, Zambuk ointment was claimed to soothe and heal every kind of skin condition, an essential standby for all good mothers and wives. Both products lasted into the 1980s, after various company take-overs; interestingly, Zambuk has recently been revived. 1906 Charles Fulford, only 36, died at his home in Australia, apparently from exhaustion. He left a fortune, including a huge bequest to Dr Barnardo’s charity for homeless boys in London. A small round tin with a lift off lid containing 'Zam-Buk' antiseptic ointmentLid : CONTAINS / NO LARD & NO OTHER / ANIMAL OIL OR FAT / Zam-Buk' / FOR / Cuts/ Bruises, Burns / ..........UNEQUALLED FOR SPORTSMEN / "RUB IT IN "/ AS AN / EMBROCATION. Base :DIRECTIONS ................/ HEALING, SOOTHING, ANTISEPTIC. Around Lid : Zam-Buk Made in Australia by C.E.FULFORD (Australasia) Ltd SYDNEY / Incorporated in England / CONTENTS 5/8 OZ.pharmacy, medicines, early settlers, market gardeners, moorabbin, bentleigh, cheltenham, c.e.fulford pty ltd, ointments, zam-buk ointment, sydney, melbourne, fulford frank harris, antiseptic, leeds england,

A tankard is a form of drinkware consisting of a large, roughly cylindrical, drinking cup with a single handle. Tankards are usually made of silver or pewter but can be made of other materials, for example, wood, ceramic or leather. A tankard may have a hinged lid, and tankards featuring glass bottoms are also fairly common. Tankards are shaped and used similarly to German beer steins. The word "tankard" originally meant any wooden vessel derived from the 13th century and later came to mean a drinking vessel. The earliest tankards were made of wooden staves, similar to a barrel, and did not have lids. A 2000-year-old wooden tankard of approximately four-pint capacity has been unearthed in Wales. Metal tankards often come with a glass bottom and the legend is that the glass-bottomed tankard was developed as a way of refusing the King's shilling, i.e. conscription into the British army or navy. The drinker could see the coin in the bottom of the glass and refuse the drink, thereby avoiding conscription. However, this is likely to be a myth, since the Navy could press by force, known as press-ganging, rendering deception unnecessary. In a bar fight, the first punch was thrown while the recipient had the tankard raised to his mouth; another legend has it that the glass bottom was implemented to see the attack coming. A further story is that the glass bottom merely allowed the drinker to judge the clarity of their drink while forgoing the expense of a fragile pint glass. It is unclear if all or any of these legends have any substance. The Tankard is associated with the shipwreck of the Loch Ard which is of significance for Victoria and is registered on the Victorian Heritage Register (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and this tankard is one item from the largest accumulation of artefacts from this notable Victorian shipwreck. The tankard was found on the wreck and it gives us a snapshot into Victorian maritime history. Allowing us to interpret the story of this tragic event. This drinking vessel is also archaeologically significant as it represents aspects of Victoria's history that allows us to interpret Victoria's social and historical themes of the time. The tankards significance is unfortunately its association with the worst and best-known shipwreck in Victoria's history. (See note section this document for history of the Loch Ard wreck)Pewter tankard; rolled lip, flared base, large handle. Surface has marine encrustations. Inscription on attached label. Recovered from the shipwreck as the Loch Ard. "LA 33 255"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, pewter tankard, tankard, drinking vessel

Wayne Alfred is a member of the Namgis Tribe of the Kwakwaka'wakw people. As a master carver he has an extremely high level of carving skill and knowledge about his peoples cultural objects, customs, tribal stories and legends. The Totem Poles of the North Pacific Coast in British Columbia and Alaska are traditionally carved out of red or yellow cedar, which has a spiritual and practical purpose. The wood was known for its durability, its resistance to rotting and the inner bark was utilised in ropemaking, clothing, hats, baskets and so forth. The Kwakitul People consider the cedar tree to be among the most sacred of all things provided by the Creator. They believed the Cedar tree to be the axis of the world and a pathway to the upper world. The wood is shaped using implements such as adzes, axes, chisels, carving knives, and chainsaws. Misinterpreted as Gods and idols to be worshipped, totems usually serve six purposes, such as a house pillar for support, a memorial or mortuary pole to commemorate (and house) the deceased, a potlatch pole (used for important traditional indigenous celebrations), a ridicule pole used to shame and a heraldic or family crest pole. Characters and symbols on these totem poles usually display family crests, history, wealth, social rank, inheritance, and privilege, as well as animalistic imagery derived from native animals and mythological creatures. Their sequence are indicative of past family events, ancestors, myths, and heraldic crests, with the bottom figure usually being the most prominent. In this work the 'thunderbird' is symbolic of power, strength and of ancestory. The Commonwealth Games Totem Pole was presented to the people of Nillumbik on behalf of the Canadian Government in recognition of Melbourne as the hosts of the Melbourne Commonwealth Games Team in 2006. Carved in cedar wood, this totem pole incorporates bold cuts and colours (such as red and green) offset by strong black. A relative degree of realism is used to depict the alligator located on the bottom of the pole, a man and a 'thunderbird'/eagle located on the top. With protuding element. No inscriptions. Bold cuts used to outline the characters and symbols as well as decorative and stylised features all over the pole. public art, kwakwaka'wakw, namgis, alfred, north pacific coast, british columbia, canada, totem pole, carved, commonwealth games, melbourne festival, cedar