Index, bibliography, notes, p.329.non-fictionPost-traumatic stress disorder increasingly afflicts veterans of modern warfare. To begin healing, says Edward Tick, we must see PTSD as a disorder of identity itself. War's violence can cause the very soul to flee and be lost for life. Drawing on history, mythology, and thirty years of experience, Dr. Tick reveals the universal dimensions of veterans' soul wounding. He uses methods from ancient Greek, Native America, Vietnamese, and other traditions to restore the soul so that the veteran can, at last, truly return home. His work is invaluable for veterans of any war as well as for their families and all who would help thempost traumatic stress disorder - treatment, veterans - mental health - united states

Sepia portrait of Horatio St Vincent Busst, born Bendigo 1866, died Kew 8/6/1940, educated at St Killians and Bendigo High School, in 1883 was appointed Mining Warden of Sandhurst and in 1889 was appointed Mining Registrar for the district of Sandhurst. Father Thomas Walter Busst native of Staffordshire England arrived in Bendigo 1856. Brother T.W.Busst Junior was an Australian Amateur Cycling Champion. Framed in a very ornate timber frame with raised carved decorative border.photograph, person, busst, bendigo & vicinty page 248 bendigo advertiser newspapers cuttings local identities page 34

A TOUR OF OUR TOWN EAGLEHAWK. 148 pages with photos, illustrations.Eaglehawk Heritage Societyeaglehawk, local history, eaglehawk, heritage, local identities

Bib, ill, maps, p.243.non-fictionAustralia's Submariners are a group with an extremely strong sense of identity that goes well beyond occupational comradeship or the esprit de corps of military life in peace or war. Since 1914, the unique skills, attitudes, values and demands of the work they do and the environment in which they do it have forged unparalleled camaraderie. A camaraderie that extends beyond nationality, embracing submariners past and present of every other nation. No one but submariners understand the experience of diving deep beneath the waves in technology filled tubes of steel, each submariner totally dependent on the other for a safe return to the surface. The ethos of Australia's submariners is based upon these factors and remains strong even when they leave the sea and take up other occupations. Australia's future submarines will certainly present challenges in terms of sophistication, technology and capability however the characteristics of our submariners evolved over previous generations will remain much the same; trained and equipped to meet the challenges; just as they have been met and surmounted so many times, in silence, over a century of service.royal australian navy - submarine forces, submarine warfare

'Drop Zone', is set in an imagined future where decreasing water availability has affected us more dramatically than anyone predicted. The water shortage has become so severe that we have to access water on a first-come first-serve basis, from military-like water ‘drop zones’, like this one, made from modified rain water tanks. These tanks function on three levels: Collected rain water causes the totem sculptures to rise and bloom; evaporation causes the totem sculptures to fall; and an anemometer (device that measures wind speed) drives a process that plays the tank like a giant drum, tuned by the amount of water contained within. This artwork envisions a future for Australia where the impact of decreasing water availability has had a more dramatic effect than any of the predictions. The shortage is so severe that military-like water ‘drop zones’, constructed of modified rainfall storage tanks have been established across the public parks of the City of Yarra for access on a first come, first serve basis. However, as the water is only replenished through rain catchment the tanks may only offer infrequent relief for the City of Yarra residents, standing as hollow reminders of the effects of inaction on the shaping of sustainable national water use.'Drop Zone' was one of three public art works installed in Yarra, in 2011, under the banner of The Environmental Public Arts Project which responded to key features of Council's Environment Strategy: 'Towards Local Sustainability 2008-2020.' The aims of this project included activating public spaces in new and creative ways through the creation of artworks which act as catalysts for further engagement and discussion around environmental themes and issues.Copyright the Artists. Ready-made corrugated water tanks arranged on a site. Situated within the tanks are small totemic sculptures that float on top of the water within the tank.Accompanying plaquesustainability, water, environment, climate change

Stencil used by Sgt. Albert David Lowerson, VC, a soldier settler on Merriang Estate near Myrtleford. Lowerson acquired one of 19 blocks assigned by the Closer Settlement Board on the 700 acre estate in 1920. The stencil marked bales of cured tobacco leaves prior to shipment to Melbourne. Lowerson was one of the few successful soldier settler farmers in the district, operating a piggery, dairy farming and growing tobacco for almost 20 years on "St. Quentin". (Lowerson was awarded the Victoria Cross at Mont St. Quentin on September 1, 1918.) His success and status enabled him to lead a submission on farm debt and infrastructure problems when the soldier settlement scheme was being reviewed at government level. He was active locally on these issues and supported fund raising for a war memorial, memorial hall and veteran welfare.The stencil represents the achievements of A.D.Lowerson, VC as an isolated example of success as a WW1 soldier settler and as a local identity who stridently supported the need for recognition and support of ex-service personnel.Stencil made of thin sheet metal, rusted .Wording of stencil "A.D.LOWERSON. MYRTLEFORD." lowerson a.d., merriang estate, myrtleford, closer settlement board, tobacco, st. quentin, victoria cross, world war 1

These School Papers, numbers 431 to 440, were distributed to pupils on a monthly basis beginning in 1896, as extra reading material in addition to the Victorian Reader. The owner, Millie Crameri (nee Rae) was a pupil at Gapsted State School Number 2241. During the 1960s the form of The School Papers changed into 3 grades of readers:Meteor, Comet and Orbit.A complete example of a 20th century textbook used in a rural school with insights into course content and learning modes of that time.Of local significance because Millie Crameri was a well known local identity. There is a sticker inside the front cover with Millie's name and details inscribed, presumably in her own handwriting. A brown hard cover folder containing monthly reading material for both Grades 7 and 8 during 1937. Each leaflet is preserved in the folder by inserting through cotton/linen threads.FORDITE embossed on the front cover.primary schools, rural schools, learning materials

The achievements of Australian servicemen and women have played a central role in shaping Australia's national identity. But while we rightly commemorate the sacrifices of Australians in war, we have ignored those who returned to Australia and their struggles to reintegrate in Australian society. veterans - australia, vietnamese conflict, 1961-1975 - veterans - australia, world war, 1939-1945 - veterans - australia

Mauve and Pink cover with a painting of a large brown lace up boot. The book title is depicted on a wrought iron sign. non-fictionBerlin, 2010: A deathbed promise launches Kathy Giuliano on a quest for the truth about her family during World War II. Alone, she travels to Berlin in search of an enigmatic octogenarian who holds the keys to the past. The only clues to his identity and whereabouts and are a black-and-white photograph and an outdated address in Reinickendorf. England, 1938: After fleeing Nazi Germany for the safety of England, a teenage boy is captured when Churchill gives the order to 'collar the lot'. One of 2,000 prisoners on the hell-ship Dunera, he is sent to Australia. At the 'family camp', he makes footwear and forms life-long friendships. Eight years later, what does he find when he returns to Berlin? Victoria, 1943: With the Japanese at Australia's doorstep, a mother and daughter are arrested at their cane farm in far north Queensland and sent 'down south'. Their crime? Teaching the Italian language to school-children. The internment camp at Tatura changes everything. The secrets they share must be kept for the rest of their lives.ww2 italians, internment, tatura, queensland, debbie terranova, berlin

Boyd comments on Australian life and culture in the first half of the twentieth century up until 1959. He reflects on changes - is it progress? - from the pastoral to the industrial, briefly on housing and construction, and emphasises US influences in design (especially cars) and politics, and the lingering, conservative influence of the UK. Robin Boyd wrote this article anonymously. He was a member of the 'Round Table', a English based group on imperial and commonwealth matters.Original manuscript of an article published in The Round Table, "The Commonwealth Journal of International Affairs", Vol 50, Issue 159, pp 26-31, 1959.Typewritten, quarto, 6 pagesAnnotations and corrections in pencilaustralian identity, taste, automobile design, they're a weird mob, nino culotta, 1959 australia, cyril pearl, on the beach, so you want to be an australian, sidney nolan, john ely burchard, robin boyd, manuscript

Booklet reporting on a Regional Arts programme to bring about change through Storymaking and The Arts.b&w illustrationsperforming arts, theatre, storymaking, social capital, culture and identity, community engagement, reigniting community project, brotherhood of st laurence

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

In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square.This is the first of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik. Five picture and six woven balustrades each made out of welded steel / organic wrought iron and coated with wax. Imagery (flora - plants, landscapes and fauna - animals, birds, reptiles, insects) are all based on the local environment. There is also a relevant aboriginal presence amongst each of the panels. Each panel represents the different areas that make up the Shire. 'Water' for Warrandyte, 'Kangaroos' for Christmas Hills, 'Cockatoos and 'Valley Creek Flats' for Hurstbridge, 'Wombats', 'Bluetongues' and 'Possums' for St. Andrews/Kinglake, 'Orchids' for Panton Hill, 'Cows' and 'Grapevines' for the Kangaroo Gound Hill landmark. N/Apublic art, nillumbik, fauna, flora, wrought iron, balustrade, halpern, laurence, kangaroo, eltham town square, spirit, warrandyte, christmas hills, kangaroo ground, hurstbridge, kinglake, panton hill, water, valley creek flats, cockatoos

In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square. This is the second of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik. Square floor mosaic. Black and white chequered border. Multicoloured coiled snake intercepted with six multicoloured peaks. Made up of small mosaic tiles and hand painted. Hand painted artist signature bottom right hand side. 'Deborah D. Halpern '01'eltham, halpern, mosaic, snake, square, laurence, painted, tiles, spirit, nillumbik

In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square.This is the third of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik.Realistic depiction of 'chocolate lilies' in wrought iron (three flowers in bloom, four large buds and six small buds). Chocolate lilies are indigenous to Nillumbik.N/A

Story of an early settler (circa 1920) at Peterborough. Includes the story of the author's Great Grandfather John Brumby.Dairy farmer plus references to his family's migration to Australia. References to other local identities.Plastic bound 179 page self published book with Table of Contents and Index of Names.ian jarvis, peterborough 3270, peterborough settlers, john brumby peterborough

Carmel Densley was a member of the Antares Group. She has documented their activities between 1992 and 19999Photos are of local identities.3 photo albums containing pictures of the Antares Group outings and activitiespeterborough

Significant historical record of WW2 and connection with family see sheet attached to Catalogue WorksheetThe types of envelopes were issued to the troops to write home to their families. two of the envelopes were used by Bruce McKean's father who was stationed at Kapooka near Wagga to write to his wife. The other two were used to keep papers, one being marked identity card.Four small envelopes (two addressed), each having coloured cartoon type drawingsSee photosww2