Australian Policy Activism in Language and Literacy presents the dynamics of language and literacy policy activism in Australia by capturing accounts of many of those most deeply engaged in Australia?s distinctive practice of Language and Literacy policy-making and its effects. This book describes how policy texts came about. 1. From policy to anti-policy: how fear of language rights took policy-making out of community hands /? Joseph Lo Bianco 2. Australia's language /? Paul Brock 3. Politics, activism and processes of policy production: adult literacy in Australia /? Rosie Wickert 4. Although it wasn't broken, it certainly was fixed: interventions in the Australian Adult Migrant English Program 1991-1996 /? Helen Moore 5. Advocating the sustainability of linguistic diversity /? Michael Singh 6. The cost of literacy for some /? Anthea Taylor 7. (E)merging discourses at work: bringing together new and old ways to account for workplace literacy policy /? Geraldine Castleton 8. The melody changes but the dance goes on - tracking adult literacy education in Western Australia from 'learning for life' to 'lifelong learning': policy impacts on practice 1973-1999 /? Margaret McHugh, Jennifer Nevard and Anthea Taylor 9. Sleight of hand: job myths, literacy and social capital /? Ian Falk 10. National literacy benchmarks and the outstreaming of ESL learners /? Penny McKay 11. Open for business: the market, the state and adult literacy in Australia up to and beyond 2000 /? Peter Kell 12. Inventiveness and regression: interpreting/?translating and the vicissitudes of Australian language policy /? Uldis Ozolins 13. Deafness and sign language in government policy documents 1983-1990 /? Des Power 14. Imprisoned by a landmark narrative? Student/?teacher ratios and the making of policy /? Merilyn Childs 15. Ideologies, languages, policies: Australia's ambivalent relationship with learning to communicate in 'other' languages /? Angela Scarino and Leo Papademetre 16. Reconciled to what? Reconciliation and the Norther Territory's bilingual education program, 1973-1998 /? Christine Nicholls 17. Sing out that song: the textual activities of social technologies in an Aboriginal community /? Jack Frawley.language activism, linguistic diversity, adult literacy, education, sign language, reconciliation, esl programs

A user friendly reference tool for historians - particularly family historians. Over 750 different series of records are described in a straightforward manner to guide users through this extensive collection.charts, b&w photographsgenealogy, state records of south australia, family history, south australian history

The bluestone 'road over rail' bridge at Macedon Street is of state architectural, architectural, historical and engineering significance. It spans the first government regional railway. Its design and building was done according to strict English standards and made use of a bridge crossing instead of a level road crossing.A black and white photograph of a stone bridge with an eliptical arch spanning two rail tracks. A workman is standing between one set of tracks in the foreground and a railcart is next to the tracks. The station, footbridge and water tower are visible through the arch.road over rail bridge, bridges, sunbury railway station, water towers, pedestrian bridges, stone bridges, george evans collection

Metal branding hammers were the most common way to control the sale and movement of hardwood timber produce like logs, railway sleepers, fence posts, and poles from Victorian State forests. Royalty was also paid on this basis. The hammer has a crown stamp on one end with a unique number in the middle (453) which identified its owner, and a crows foot or broad arrow on the other. The broad arrow was a symbol traditionally used in Britain and its colonies to mark government property. Forest regulations state that an authorised officer may use the crown mark to identify produce which has been sold and may be removed from the forest, whereas the broad arrow can be used to brand and mark trees which are not to be felled, or to indicate forest produce which has been seized. Hammers were traditionally only ever issued to forest officers and were an important, and closely guarded tool-of-trade. They were not transferred between staff and lending hammers was not permitted. But it was an onerous task for staff to hammer and tally hundreds of logs, or thousands of fence posts each week, so in about 1990 a system was introduced whereby hammers were allocated to logging contractors to grade logs and tally them instead. But there was still spot checking by authorised officers. A register was kept, and contractors paid a substantial deposit to make sure they didn't lose them, but they occasionally turn up by fossickers with metal detectors. While branding hammers are still used in some smaller locations, plastic tags and barcodes are now more common.Metal log branding hammer with a crown stamp on one end with a unique number (453) in the middle which identified its owner, and a crows foot or broad arrow on the other. The unusual bent metal handle was designed to protect user from banging their fingers on the log. It was also fitted with a rubber hand grip. Most FCV branding hammers were issued with wooden handles. The branding hammer 453 was initially issued to Wally Cowell at Beechworth. It was reissued to Jim Browning upon Wally’s retirement The hammer still had a wooden handle, but the it broke and became loose inside hammer head. Russel Pritchard from the Beechworth Depot replaced the handle with a new metal one and put a dog leg in it It mainly branded forest produce cut in Mt. Pilot and Reedy Creek areas. The main logging contractors were Gordon Habeck from Chiltern and Steven Goldsworthy from BeechworthCrown mark one end (453) and Crows foot other endforest harvesting

Some decades ago a card sorting set for the identification and description of Australian timbers was developed for timber species which were available commercially and were in common usage, by the Commonwealth of Australia (CSIRO, Division of Forest Products) To complement and inform this national timber set each State or Territory developed reference timber sets of representative species. The Commercial Timbers of Victoria set was Victoria’s most recent (circa 1984) expression of this Victorian timber samples were sourced from logs selected by Forest Commission of Victoria (FCV) District Foresters and milled locally. Kiln drying and machining was carried out at timber producers Row, Web and Anderson, in Port Melbourne. Labeling and boxing was done by FCV Timber Inspectors, with box and booklet design and graphics handled in-house More recent timber samples were badged as Conservation Forests & Lands, reflecting historical government restructuring in the early 1980s Info: Simon MurphyProvided the public, industry (timber and associated), and educational facilities with a reference collection of notable Victorian timbers. Initially in a reduced format from 1940-50s, with boxed sets produced from 1981 until 1984A boxed set of timber samples representing the 20 tree species that were considered to be the most notable in Victoria. The set also includes an information booklet. Each timber specimen has information on species, occurrence, uses and physical properties Produced for sale by the the FCV and later by the Department of Conservation Forests and Lands. (CFL).

This Netball uniform from circa 1986 was worn by a girl named Rebecca when she attended the Tottenham North Primary School. Tottenham North Primary School was opened on 29 May 1953 and was built on a South Road, Braybrook site purchased in 1929. After a fire in February 1961 the pupils were sent to the Powell and Curtin Street schools in Yarraville, and to the Maidstone and Sunshine East schools. The new building was officially opened on 22 August 1962 by A. McDonell, Director of Education, and it had sixteen classrooms, an art/craft room, and an assembly hall. Sporting achievements by the pupils included the 1963 football premiership and the 1968 cricket premiership. Over the years it has been called Tottenham Primary, Tottenham Crossing Primary, and Maidstone Primary. The different names resulted because of mergers with other local primary schools as the number of primary aged children in the Braybrook and Tottenham area changed. The school on South Road is now named Dinjerra Primary School. Dinjerra supposedly means 'out west' in the dialect of the original indigenous people of the area. Dinjerra Primary School is now the only neighbourhood government primary school in Braybrook Tottenham. The above information was sourced and compiled from: 1. 'Vision and Realisation - A Centenary History of State Education in Victoria - Volume 3', Education Department of Victoria 1973. 2. The Dinjerra Principal's website article at: http://www.dinjerra.vic.edu.au/91/Message-from-the-Principal.The netball uniform serves as a historic reminder that a school named Tottenham North Primary School once existed. The uniform also provides us with information of the colours used on these types of sports uniforms, and of the design of the School Logo.Two items of Netball Uniform. (a) Skirt - Maroon coloured wrap around sports skirt. (b) T-shirt - Yellow, Size 14 'Ryder' brand children's T-shirt, with maroon coloured triangular shaped School Logo printed on the front.TNPS. TOTTENHAM NORTH P.S. 4703 - (Printed inside triangle)sports uniform, netball skirt, netball t-shirt, tottenham north primary school, south road braybrook, tottenham primary school, maidstone primary school, tottenham crossing school, dinjerra primary school, tottenham north state school, state school 4703

Nicholas Nedelkopoulos is an established artist, his work is represented in the Metropolitan Museum of Art, New York, the National Gallery of Australia and in numerous International and Australian Public and Private Collections. His work has been included in major historic exhibitions: the National Gallery of Australia's Federation touring exhibition, The Australian Bicentennial Folio and Victoria's 150th Anniversary exhibition curated at The State Library of Victoria and National Gallery of Victoria. He has a Diploma of Fine Arts from Victorian College of the Arts, a Master of Fine Art from the University of Melbourne (Victorian College of the Arts) and has a Doctorate from Monash University. Nedelkopoulos' work is based strongly in graphic tradition which can be seen throughout all of his media.'The Sneeze' alludes to a feverish response, an irritation, a period of temporary discomfort, or a sign of sickness. On a visit to Eltham in 1995 Nedelkopoulos became aware of the disquiet felt by many residents because local government was not in the hands of elected representatives. 'The Sneeze' is an allegorical work, which serves as a reminder of this period in our municipal history. Nedelkopoulos has constructed an environment similar to a theatre set in which every element is a symbol to be deciphered. Whether you read the red-nosed figure as democracy being challenged by the political circumstance, as representing the unelected commissioners surrounded by the criticism of the community, or as another player in the story, to unravel the meaning of individual elements will provide direction and add weight to your interpretation. Without knowledge of the artist's intention the work can convey quite straightforward messages and responses. For example, the misery of hayfever in Spring, or how germs spread from a single sneeze. Such ideas are relevant and provide the metaphoric basis for a more in-depth analysis.Pastel drawing on paper. Image depicts a small black figure with a small monkey on a lead. The figure has a red nose to which he is holding a tissue. He is walking through what appears to be a flowering forest.nedelkopoulos, the sneeze

Cogan is a textile artist and her work is political in nature. 'War and Peace' is about the Vietnam War and a statement about patriotism in war, of lessons not learnt, of remembrance and never forgetting. This work is an expression of her feelings towards this time and of her husband's experience who fought in this war. The Republic of Vietnam 'Vietnam Campaign Medal' is from the former country of South Vietnam (Republic of Vietnam). Established in 1966, it was awarded to members of United States, Australian, and New Zealand military forces serving six months or more in support of Republic of Vietnam military operations. The medal is issued with a device known as the 1960 Bar. The bar displays the date of 1960 followed by a dash and a blank space. The unusual appearance was caused by the government of the Republic of Vietnam stating that the 1960 bar would show the dates of the Vietnam War from start to finish, with the ending date placed on the 1960 bar after the South Vietnamese had triumphed over North Vietnam (the Democratic Republic of Vietnam). Since South Vietnam fell, and the government ceased to exist, an ending date for the 1960 Bar was never established. The Vietnam Campaign Medal is considered a foreign award by the U.S., Australian, and New Zealand governments. The joint Australian and New Zealand campaign medal awarded for service in the Vietnam War is the 'Vietnam Medal'. The obverse of this medal shows the crowned head of Queen Elizabeth II, with titles, while the reverse has the inscription VIETNAM above a symbolic representation of the ideological war in Vietnam. The RSL poppy (the Flanders poppy) has long been a part of Remembrance Day, the ritual that marks the Armistice of 11 November 1918, and is also increasingly being used as part of Anzac Day observances. During the First World War, red poppies were among the first plants to spring up in the devastated battlefields of northern France and Belgium. In soldiers' folklore, the vivid red of the poppy came from the blood of their comrades soaking the ground. The poppy soon became widely accepted throughout the allied nations as the flower of remembrance to be worn on Armistice Day. Today the RSL continues to sell poppies for Remembrance Day to raise funds for its welfare work. "War and Peace' is significant as it explores and highlights a period in history (the Vietnam War), which was contentious both socially and politically. Cogan and her family lived locally, in the Shire of Eltham during this time, and her work is a reflection of the experiences and sentiments of a section of the Nillumbik community. Textile piece. 'War": Cast muslin, machine embroidery onto white calico. Tanin dye, poly thread, side bust view (hand, shoulder and arm). Black machine stiching on shirt and shirt pocket with two vietnam medals. A replica of the 'Vietnam Medal' in muslin is shown reverse and has the inscription VIETNAM above a symbolic representation of the ideological war in Vietnam, which is of a male figure standing between two spherical shapes. The ribbon has a vertical central section of bright yellow which has centrally superimposed on it three thin stripes of red, (representing the South Vietnamese flag) flanked by two stripes of red (representing the Army). On the left is a dark blue stripe representing the Navy and on the right, a light blue stripe representing the Air Force. A replica in muslin of the second medal is the Republic of Vietnam 'Vietnam Campaign Medal' of the former country of South Vietnam. The ribbon has green and white strips with a device bearing the inscription ‘1960 – ‘. The medal is traditionally a gold and white enamelled star with a green, red and gold centre motif. Right hand is touching the medals/heart, while left arm is left resting to the left side over a crutch which ends in a rolled up bandage. 'Peace': Cast muslin, machine embroidery onto calico. Black dye, poly thread and RSL poppy. Side bust view (hand, shoulder and arm). Yellow machine stiching on black shirt and shirt pocket with RSL red poppy on shirt pocket. Right hand is reaching to touch the poppy, while left arm is slightly bent resting on its' left side. Nonetextile, muslin, embroidery, vietnam war, medals, vietnam medal, vietnam campaign medal, rsl poppy, war, peace, armistice, remembrance day, anzac

Aerial survey map showing roads, vegetation and other landscape features.Significant because it shows the detail of the region in 1957Original 1957 State Aerial Survey Map of Port Campbell region, including Peterboroughpeterborough, aerial survey map, maps, port campell

The fishing spot known as The Lodge was accessed, for many years, via private property. This article is about an on site meeting, who attended and what was said in regards to the upgrading of a road for access to the river. Includes a letter to the Editor from Ronald Irvine stating their position. Enquiries made on March 11th 2021 with Ronald Irvine revealed that the road had deteriorated and vehicles were becoming bogged, requiring the farmer to pull them out with a tractor. Council were reluctant to fund repairs and the result was that the gate was locked and public access no longer available.Significant because it is a record of community and government discussion about community access to a popular fishing location on the Curdies River.Two page newspaper article from the Cobden Times March 5 1986peterborough, curdies river, the lodge, ronald irvine, the lodge fishing, timboon anglers club, john irvine, the cobden times, 5 march 1986

Group of Councilor's -- Group photograph taken at Grampians during ministerial visit c 1911. An additional name not written on the photo is J.C. Sinclair setting in the front row.Original photograph of a group taken in the Grampians during a Ministerial visit in c 1911 On the front, 1-21 - Front row 1-6. On the back, Aug 4 1911 - (Attached) Back row 1. Allen T.J.E., 2. Dalziel John, 3. White Marshall, 4. Henderson Harry, 5. Payne Isaac, stawell government

stawell mining