Ill, p.192.non-fictionA Vietnam Soldier K.I.A. and His True Love... is the unique true story of a Vietnam soldier who was killed in action on his first wedding anniversary. Based on the life of Pte C W Roost, the book tackles the horrors of war and in particular the loss of a loved one in the duty of service to his country. An exceptional love story written from a woman's perspective, this book puts a human face to the controversial war in Vietnam. At just 20 years of age Chris, like so many Australian young men, was conscripted into the army as a National Serviceman. After marrying his childhood sweetheart, Mary, Chris was posted to Vietnam in June 1968. This book follows Chris' adventures through training, marriage and war. It shares his thoughts through his precious letters to his family, and tells the incredible story of the impact of war on our young Aussies. Chris was killed in action on December 23rd 1968 - his first wedding anniversary. He lives on in this book. Collapse summary vietnam war 1961-1975 – personal recollections – australia, soldiers - australia - biography

Index, p.218.non-fictionThis book unfolds the human side of the American civil war - the flesh and blood drama of men and women to whom the war was an intimate, emotional experience.american civil war 1861-1865, united states - history

Index, notes, p.357.non-fictionDiscusses about the true cost of the Iraq war - quite apart from its tragic human toll - which the Bush administration estimated at $50 billion. This book argues that this underestimates the real figure by approximately six times. It attempts to expose the gigantic expenses which have not been officially accounted for. Stiglitz and Bilmes write in simple language, which makes the details they present, and the sums they add up, all the more disturbing.iraq war 2003-2011 - economic aspects, iraq war 2003-2011 - finance

Weekender article from the Bendigo Advertiser 20/2/1999 mentioning the push for a museum for Bendigo by John Gascoigne. People including Kathryn Mackenzie, , Heidi Teague, Joan Bolton, David Bolton, Joan O'Shea, Cliff Binks, Frank Cusack, Ted Barkmeyer, Andrew Paul and Peter Tangey were interviewed. There is a colour photo of Joan Bolton with an old printing machine and a black and white photo looking up Mitchell Street. On the back of this page there is another item relating to preserving Bendigo's Past, (from Weekender 17). A black and white photo at the top of the page shows Bendigo in the 1860s looking up Mitchell Street, (Photo courtesy of Frank Cusack).bendigo, history, long gully history group, the long gully history group - showcasing our past, bendigo advertiser 20/2/1999, john gascoigne, golden dragon museum, bendigo pottery, rsl memorial hall, central deborah gold mine, greater city's heritage and historical societies, kathryn mackenzie, bendigo tourism inc, heidi teague, german heritage society, eureka museum, joan bolton, david bolton, bolton bros, joan o'shea, lister house, northern district school of nursing graduates association, department of human services, public records office, bendigo hospital, cliff binks, school of mines, bendigo regional institute of tafe, frank cusack, bendigo junior technical school, national trust chambers, information centre, commonwealth bank, city of greater bendigo, museum victoria, andrew paul, sir john quick, jenny whitelaw, peter tangey, fortuna, george lansell, army's topographical mapping unit, a steele

Six pages of newspaper clippings from 'The Argus' dated in the 1800's and pasted onto card, the name of the contributor is 'A Vagabond'. Article dated 13/5/1876 relates to the writers experience as an outpatient at the Melbourne Hospital. 20/5/1876 'The Outcasts of Melbourne' whose lives are one of misery, sin, crime but little shame. A warning to the authorities to 'take heed quickly' to prevent the continuation of these vices well into the future. 27/5/1876 'Sixpenny Restaurants' . Unknown date in 1876 'Three Days in the Benevolent Society' 10/6/1876 'Three Days in the benevolent Society' part 2.newspaper, human interest, the argus

This collection of documents supports a staff workshop on "Managing Diversity" held at NMIT in 1999. It investigates the responsibility of the education sector to value diversity (irrespective of gender, culture, age, location, disability or disadvantage). 40 pages (approx.) of text. A collection of documents from various sources photocopied as notes for workshop.managing diversity, disability, special needs, human rights, equal opportunity, nmit,

Index, bib, ill, maps, p.476.On 25 June 1950 the invasion of South Korea by the Communist North launched one of the bloodiest conflicts of the last century. The seemingly limitless power of the Chinese-backed North was thrown against the ferocious firepower of the UN-backed South in a war that can be seen today as the stark prelude to Vietnam. Max Hastings has drawn on first-hand accounts of those who fought on both sides to produce this vivid and incisive reassessment of the Korean War, bringing the military and human dimensions into sharp focus.korean war 1950-1953 - history, korea - history

Index, ill, maps, p.198.A 25 year old Australian, James Boyle, was one of thousands of prisoners of war who worked in inhuman conditions to build the Thailand/Burma railway. He was determined to record his experiences and thos of his mates - at the limits of human endurance.japan - prisons and prisoners of war, burma - thailand railway

Index, ill, p.292.non-fictionIn war, great commanders lead soldiers into hell to do the impossible. They were called Easy Company--but their mission was never easy. Immortalized as the Band of Brothers, they suffered 150 percent casualties while liberating Europe, an unparalleled record of bravery under fire. Dick Winters was their commander, "the best combat leader in World War II" to his men. This is his story, told in his own words for the first time. On D-Day, Dick Winters parachuted into France and assumed leadership of the Band of Brothers when their commander was killed. He led them through the Battle of the Bulge, the attack on Foy--where Easy Company reached its breaking point--and into Germany, by which time each member had been wounded. Neither a protest against war nor a glamorization of combat, this is a moving tribute to the human spirit by a man who earned the love and respect of the men of Easy Company and the adulation of new generations worldwide. world war 1939 – 1945 – personal narratives – united states, united states army - history

Index, bib, ill, maps, p.324.non-fictionThe Australian story of Kokoda has been told often and told well. Now for the first time, the full Japanese story of Kokoda is told, a poignant tale of comradeship and heart-wrenching suffering. This is a very human story of the other side, told through the eyes of Japanese who were there. kokoda track 1942, world war 1939 – 1945 – campaigns – new guinea

Index, bib, ill, maps, p.640.non-fictionFew years can justly be said to have transformed the earth: 1914 did. In July that year, Germany, Austria-Hungary, Russia, Britain and France were poised to plunge the world into a war that would kill or wound 37 million people, tear down the fabric of society, uproot ancient political systems and set the course for the bloodiest century in human history. In the longer run, the events of 1914 set the world on the path toward the Russian Revolution, the Treaty of Versailles, the rise of Nazism and the Cold War. In 1914: The Year the World Ended, award-winning historian Paul Ham tells the story of the outbreak of the Great War from German, British, French, Austria-Hungarian, Russian and Serbian perspectives.world war 1914 - 1918 - history, world war 1914-1918 - causes

Ill, p.336.non-fictionIn the harsh Libyan desert in the middle of the second world war, Private Jim Moody, a signaller with the First Australian Machine Gun Battalion, found a starving puppy on a sand dune. Moody called the dog Horrie. Much more than a mascot, Horrie's exceptional hearing picked up the whine of enemy aircraft two minutes before his human counterparts and repeatedly saved the lives of the thousand-strong contingent. The little Egyptian Terrier's ritual of sitting, barking, then dashing for the trenches, had the gunners running for cover before their camp was strafed and bombed. Where Moody went, Horrie went too, through the battle zones of the Middle East and far beyond. As the Japanese forces began their assault in Asia Moody and his soldier mates joined the fight, but not before they had smuggled Horrie onto a troop ship and a harrowing journey back to Australia where they thought their little friend would be safe. The war over, Moody brought Horrie out of hiding to raise money for the Red Cross, and the brave little dog's story became widely known. When quarantine officers pounced and demanded that the dog be put down there was a huge public outcry. Horrie had saved a thousand lives. How could a cruel bureaucracy heartlessly kill him? But defying the authorities would mean gaol for Moody and certain death for Horrie. Was Horrie, the gunner's hero, condemned to die or could Moody devise a scheme to save him? animals - war use, australia - armed forces - mascots

Index, p.317.non-fictionThis brilliant exposition established British naval historian Julian Corbett (1854-1922) as one of the great maritime strategists. Corbett placed naval warfare within the larger framework of human conflict, proposing that the key to maritime dominance lies in effective use of sea lines for communications and in denying that use to the enemy. His concept - which regarded naval strategy not as an end in itself but as a means to an end, with that end defined by national strategy - makes this a work of enduring value.naval strategy, sea power

Index, bib, p.552.non-fictionThis thorough overview of all aspects of the field of genocide studies brings together for the first time classic and contemporary writings from some of the most noted scholars writing on genocide in the fields of genocide studies, political science, history, and sociology. The Reader covers key aspects of a host of complex and thorny issues, such as the definition of genocide, theories of genocide, prevention and intervention, and its denial. This collection of writings is essential reading for anyone who wants to understand this most atrocious form of political violence that has plagued human history.genocide - history, genocide - case studies

Index, bib, ill, p.319.non-fictionSome rescues involve the soldiers, sailors and airmen who risked all for their brothers and sisters in arms. Other concern civilians who hid Jews in their homes or helped Allied soldiers trapped behind enemy lines. All are an inspirational testament to bravery and human kindness.world war 1939-1945 - rescues, world war 1939-1945- social aspects

[8] l., 405 p., with woodcuts and illustrations. Vellum covering.non-fictionhuman dissection, early works to 1800

With Nixon and Mao, Margaret MacMillan has given us a remarkable work of history, written with an eye for the telling human detail and a deep sense of the significance of the house she is chronicling. She tells an important story with verve and insight.united states - foreign relations - china, united states - foreign relations - 1969-1974

Six Vietnam Veterans' stories of their time in Vietnam.Cease Fire is a must read story about the lives of five men from Sydney's Northern Beaches who were involved in the Vietnam War, and another whose life was affected by the Second World War. The stories in Cease Fire are compelling and educate readers about the effects of war on human lives. It is ironic that the war did not cease for many returned soldiers - the firing never stopped. 1961 - 1975 -- veterans -- australia, 1961 - 1975 - veterans - australia - biography, vietnam war, 1961 - 1975, personal narratives - australian

Of the many armed conflicts that make this century so distressingly rich in human misery, none has lasted as long as the struggle for Vietnam; and although other conflicts have had deeper effects upon mankind, none compares with in it political complexity and unresolved consequences.vietnam, history

Gripping tales of real-life horror and heroism from the history of human conflict.war - press coverage, desert storm, killing fields of vietnam

The Life and Times of Jim Reillyjim reilly, tatura, cycling, human interest, photograph, people, documents, newspapers

Hardcover w/ Dust Jackethuman body, disease, healing, walsh st library

Newspaperfream, collection, biology, textbook, for nurses, applied human biology for nurses, written by mr fream

Karl Duldig carved this marble sculpture of a mask in the Vienna Kunstgewerbeschule (School of Applied Arts) in 1921. His teacher, Anton Hanak, the Professor of Sculpture at the School, encouraged him to carve directly into the stone. It was an accomplished work for the 19 year-old student and was selected by Hanak to represent the students of the School at the Deutschen Gewerbeschau (German Applied Art exhibition) in Munich in 1922, an early accolade for the young artist. The sculpture and another Kneeling Nude were reproduced in the journal Deustche Kunst and Dekoration in 1923-24 in an article on the Hanak-Klasse. In 2011 Mask was exhibited in the National Gallery of Victoria exhibition Vienna: Art and Design. The sculpture is one of ten substantial sculptures in marble and stone, and a larger group terracotta sculptures and masks, portrait busts and small stone sculptures created by Karl Duldig in Vienna that are held in the Museum collection. These art works are complemented by an archive of contemporary documents including letters, photographs, documents and ephemera. In 1938 Duldig’s Viennese sculptures were sent to Paris in 1938 for a proposed exhibition, and were hidden in Paris by Slawa Duldig’s sister Rella, throughout the Second World War, and arrived in Australia post-war over 5 decades. Karl Duldig was a student of the Kunstgewerbeschule from 1921 until 1925, and then attended the Akademie Der Bildenden Künste (Academy of Fine Arts) from 1929 until 1933. He was accepted into the Professor Josef Mullner’s “Meisterschule” at the Academy of Fine Arts from 1929 until 1933. His teacher at the Kunstgwerebeschule was Austria’s foremost contemporary sculptor Anton Hanak, and he was a formative influence on Duldig’s work. Hanak had been a member of Viennese Secession, and worked with Josef Hoffman on architectural commissions prior to the First World War. Hanak shared both his love of the expressive quality of materials and a humanist vision with his students. Various writers have written about Duldig’s interest in masks. His interest may have been stimulated by his classical education, the Greek and Roman antiquities in the Kunsthistoriches Museum in Vienna, or the ethnological collections in Vienna’s Museum of Ethnology (now known as the Weltmuseum). The mask was a motif explored by expressionist and cubist artists whose work was exhibited at the Vienna Secession. Duldig would have been familiar with the psychological investigations of the neurologist and founder of psychoanalysis Sigmund Freud, who established his practice in Vienna. In the Duldig Studio library, Duldig’s keen interest in the arts of a myriad of visual cultures is apparent. Of particular note are two well-thumbed copies Rudolf Utzinger’s, Masken, published by Ernst Wasmuth in Berlin in 1923, depicting masks from around the world. It is likely that a multitude of influences were at play. Slawa Duldig also worked with this motif, and also carved a smaller mask in Salzburg marble as well as a remarkable mask in clay, and these are held in the collection. Ann Carew 2016The Mask has national and international aesthetic significance. It is one of the earliest works by Karl Duldig in the Studio collection, and is a subject that he would continue to explore throughout his working life. The sculpture demonstrates a high degree of technical skill and mastery at an early age. It is evidence of Duldig’s engagement with the art of his peers during this period – the mask is a motif that inspired contemporary expressionist and cubist artists. It also demonstrates his interests in portraiture, human psychology, and the creation of identity and transformation of personalities. The Mask also provides an important link to the studio practice in the Vienna Kunstgwerbeschule, the teaching of Anton Hanak, and the program of international art exhibitions in Europe during the period. It is also of historical significance: the story of its survival and eventual recovery provides a counterpoint to the story of the Nazis’ confiscation of art during the Second World War. Ann Carew 2016Carving in Salzburg Marble. Holes for eyes and mouth cut through the block. Highly polished finish at front contrasting with rough finish at back and stylised curled hair. Marble base separate (75 x 275 x 198, wt 9000) and added later by artist. Karl Duldig 1921 incised on back

Tadich spends time observing night time phenomena, the light from the moon, street lights and other sources; atmospheric states, fog and dampness and the nature of surfaces, vegetation, road, vehicles and buildings. She uses photographs and sketches before settling on the final idea for a work.This painting is typical of Tadich's recent work. She continues her exploration of the Australian landscape (most often the local, Nillumbik Shire). It is 'a dramatic interplay between narrative, landscape and the binaries of light/dark and the known/unknown of local landscape. The swathes of darkness within the work(s) pose questions about our inscribed fears and tensions, both cultural and existential'. (catalogue, 'Silent Space' Ex. 2006) Tadich's early experiences of fireworks, simple fireworks and bonfire in the surrounding bush of her outer Melbourne home, caught her imagination. She was inspired to investigate the issues surrounding nights in the bush. In this painting the narrative is ambiguous, the pinpricks of light, in this case from the car headlights provide a critical element. We can distinguish familiar features, a road, trees and a car that suggest human presence. However, what is going on is unclear. The resulting tension can leave us unsure, unsettled and anxious.Oil on canvascamilla tadich, nillumbik shire council, kangaroo ground

Created during her residency at Laughing Waters, Ash, the performance is a response to concurring world events and continues Orr's practice of using her own body as the site for creating provocative imagery. In Ash, she explored a familiar theme - our relationship with the environment. The audience was are asked to peer inside a rough wooden hut where Orr laid motionless on a coffin-like slab. The floor was strewn with forest litter and her own body, covered in ashes, carried text messages as reflections on human suffering, in particular the plight of refugees in Australia.Photograph - cibachrome depicting the artist Jill Orr in a reclined position, swathed in fabric. There is black text all over her body carrying messages about war and the plight of refugees.laughing waters, jill orr, ash

'Tiles from the Boomerang Studio' is a prototype of the work 'Year 2052', created while Mooney was an Artist in Resident at Laughing Waters in the Boomerang studio in 2002. Records of flora were collected in and around the Gordon Ford garden in Laughing Waters Road. The work 'Year 2052' is made up of '77' tiles and was acquired by Geelong (Regional) Art Gallery in 2003. Whilst working at the Boomerang studio, local based artist Mooney noticed that “a battle raged in the bush between non-indigenous plants and indigenous plants”. She also noticed how humans “invade” land, changing the surrounding environment and causing irreversible damage. This work is an interpretation of the fragility and value of Nillumbik’s indigenous flora and of its conflict with introduced species. The title of the work (Year 2052) and look of these ‘fossilised specimens’ asks viewers to cast themselves into the future and to look back at today. “These tiles have been found; an incomplete record of flora collected in and around the Gordon Ford garden in Laughing Waters Road. The tiles appear to have been made at the beginning of the millennium. The viewer is asked to contemplate which species are missing”. Mooney works with collected indigenous items to emphasis the beauty of their natural shapes, while at the same time introducing selected materials of contrast or sympathy. Her work creates a great sense of “stillness and peace, of simplicity and connection with the natural world as well at the vanishing Australian bush.”This work is made up of seven handbuilt earthenware oval/round clay 'tiles' - (eight pieces - with one tile intentionally broken), brown in colour and bisque and blackware fired, giving a matt black ash coating on each of the tiles' surface. Each tile has an imprint of a floral specimen indigenous to the Laughing Waters area in Eltham. Each tile has an imprint of the following specimens: tiles, earthenware, flora, indigenous, bisque, boomerang, ford, laughing waters

George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. This work chosen for the folio is from an incomplete edition from 1966. It has been printed on Baldessin's original 1974 cast aluminium Enjay press (designed and made in collaboration with Neil Jeffreys) and restored specifically for this project by Dan Jones. In addition Deanna Hitti has used Baldessin's original Japanese Torinoko paper, stored safely in his studio for over forty years. ‘Portrait II’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print is a fine example of Baldessin's primary interest of the figure, which displays great sensitivity to and observation of the human condition. Distortion, exaggeration and fragmentation were employed by Baldessin as tools to animate and scrutinize the displaced, dispossessed and alienated figure, flattened against the picture plane. Black and white distorted and exaggerated figure (head and shoulders), with hands raised to the face and the figure's right eye. acquatint, etching, baldessin, ekphrasis2018, figure