Grandiflora : Recent Paintings by Daniel Mafe

Grandiflora: Recent Paintings by Daniel Mafe The paintings of Grandiflora are improvised around a range of different flower motifs culled from medieval textiles and botanical illustrations. Each of the paintings is constructed upon a ground of flat, palely luminous yellow occasionally supplemented by additional areas of high-keyed pastel. Pink, blue, green and mauve together with the yellow, generate a shimmering and even incandescent glow. The graphic images of the flowers with the flat colour areas are then contrasted and worked over with richly sensual, abstract gestures of paint. Within the work there is a pronounced almost rococo-esque opticality as it operates between these different visual codes of flat colour, recognizable floral forms, and gesture. These codes combine to produce a definite visceral impact on the viewer, a pronounced and tactile sense of the experience and ambiguity inherent in perceiving. This ambiguity is interestingly at odds with the apparently clean and crisp quality each painting demonstrates as an integrated whole. Indeed each piece goes on to reveal, despite the use of overt figurative quotations, a sense of the purely abstract which in its turn concretely establishes the ornamental.

The impact of 'doomed race' assumptions in the administration of Queensland's Indigenous population by the Chief Protectors of Aboriginals from 1897 to 1942

This thesis researched how the anthropological claims of the Aborigines as a 'doomed race' in the decades between 1850 and 1870 became embedded and manifested in pervasive ideologies forming the racist protectionist policies framed in Queensland's Aboriginals Protection and Restriction of the Sale of Opium Act - 1897. Administering the Act was the government appointed Chief Protector of Aboriginals. Conferred with extraordinary powers, Chief Protectors acted and made decisions on behalf of successive governments who displayed little interest in Aboriginal affairs. Amendments to the Act between 1897 and 1939 reflected personal agendas and attitudes towards Aborigines by respective Chief Protectors. Conclusively, the research outcomes show that the 'doomed race' theory became a subterfuge for governments to mask society's racial prejudice against Indigenous peoples and allowed governments to dispossess the Indigenous people of their traditional lands without question from white settlers.

Origins of Australian Football: Victoria's Early History. Volume 3: Covert 'Professionalism': The Power of the Wealthy Clubs 1886 to 1890

This volume continues the story of football in Marvellous Melbourne during the 1880s. At this time the VFA continued to expand as Melbourne’s boom continued apace. In 1886 Port Melbourne, Prahran, St Kilda, Footscray and South Williamstown joined the competition, and the Ballarat clubs Ballarat, Ballarat Imperial and South Ballarat were also contending for the VFA premiership. In 1886 matches were divided into four quarters, goal umpires waved two flags to announce a goal, and time clocks and bells were employed to mark the end of quarters. Victoria also played inter-colonial matches against New South Wales, Tasmania and South Australia. VFA secretary T.S. Marshall was at the forefront of fighting the game’s turn towards professionalism, but although it was illegal to pay players, the practice continued. The period 1886 to 1890 also set the stage for the eventual formation of the Victorian Football League, for by the end of the 1880s the Victorian Football Association had become in effect a two-tier competition. The most popular clubs in the VFA, South Melbourne, Geelong, Carlton and Essendon collected the lion’s share of the gate money, which they used to build their wealth and entrench their position as the dominant Victorian teams. The lower tier clubs had to make do with paltry gate money and season fixtures that advantaged the strong clubs. In these fixtures the strong clubs elected to play each other first to increase their gate money, and only deemed to play the poorer clubs at the start of the season. This led to an increasing divide between the VFA’s rich and poor, and by 1890 South Williamstown and Prahran merged with Williamstown and St Kilda respectively, University dropped out of senior ranks, and the Ballarat clubs were excluded from competing for the VFA premiership, which left 12 senior clubs until Collingwood’s emergence in 1892. At this time, no team was as powerful as South Melbourne, which experienced the greatest success in the club’s VFA and VFL history when it collected triple premiership crowns in 1888, 1889, and 1890. South Melbourne was a most ambitious club and spearheaded the move towards professionalism, although this could not be made public. The fine teams it produced at this time contained some of the greatest players of the era, such as Peter Burns, “Sonny” Elms and “Dinny” McKay, and it looked after players with health insurance, jobs, inter-colonial trips, and other incentives. Geelong’s premiership in 1886 was perhaps its greatest triumph, but this success was followed by a premiership drought that would last for 39 years. Carlton remained one of Victorian football’s power clubs, and after securing the premiership in 1887 continued to compete for top honours. As always, the game became ever more popular and world record crowds of over 30,000 attended matches between South Melbourne, Carlton, Geelong and Essendon.

Tuuleen piirrän nimeni : Daniel Urwindin fragmentaarinen omaelämäkerta Bo Carpelanin romaanissa Alkutuuli

Tutkielma käsittelee Bo Carpelanin romaania Alkutuuli (Urwind 1993) päähenkilö Daniel Urwindin fragmentaarisesti kerrottuna elämäntarinana. Kyse on kahdella aikatasolla etenevästä fiktiivisestä omaelämäkerrasta, joka perustuu viikottaisiin päiväkirjamerkintöihin. Daniel hahmottaa identiteettiään tilaan kytkeytyneiden muistojen sekä oman nimensä avulla leikaten samalla kerronnan jatkuvuuden. Tutkimusongelmana on hahmottaa Danielin kerronnan tavat, kirjoittamisen syyt sekä prosessiin lopputulos. Menneisyyteen kohdistuvan minä-kerronnan analyysi perustuu Dorrit Cohnin Transparent minds -teoksen käsitteistöön. Alkutuulessa esiintyy muistikerronnan ja muistimonologin epäsäännöllistä vuorottelua. Niiden osana on edesmenneiden läheisten upotettuja monologeja, joiden takaa kuultaa Danielin ääni: monologit ovat Danielin kuvittelemia tai referoimia puheita ja ajatuksia, joiden esittäjä on hänen yksinäisen keskustelunsa toinen osapuoli. Omaelämäkertaa käsittelevinä teoreettisina lähteinä ovat ensisijaisesti Päivi Kososen artikkelit sekä hänen tutkimuksensa Elämät sanoissa. Tutkielman tulkinnan kannalta keskeisessä asemassa ovat Bo Carpelanin essee- ja kaunokirjallinen tuotanto. Kirjoittamisen lähtökohtana on päähenkilön identiteettiä horjuttava elämänvaihe. Vaimo Marian lähdettyä vuodeksi Amerikkaan Daniel pyrkii löytämään oman kielensä ja luomaan muistojensa avulla eheämmän kuvan itsestään. Prosessiin kytkeytyy keskeisesti tila - Danielin kulkiessa talossaan, joka on hänen lapsuudenkotinsa, aistitodellisuus toimii mieleenpalauttajana: äänet ja tuoksut johdattavat hänet elämään menneisyyden muistoja uudelleen nykyhetkessä. Samalla talo ja huoneet personifioituvat ja minuus alkaa rakentua tilan kaltaiseksi. Uusien ovien ja huoneiden löytyminen symboloi Danielin muistojen selkeytymistä ja itseymmärryksen syvenemistä. Kirjoittamisen voi tulkita olevan psykoanalyyttinen prosessi, jossa omaelämäkerran minä keskustelee menneisyyden minänsä kanssa. Puhuja odottaa vastausta toiselta, vaikka vastaus löytyy paradoksaalisesti itsestä. Omaelämäkerran moniäänisyyttä korostavat edesmenneiden läheisten läsnäolo, Danielin eri ikävaiheiden identiteetit ja kaksoisolentojen hahmoissa esiintyvät minuudet. Kirjoittamisen avulla Daniel pyrkii pääsemään etäämmälle itsestään ja saavuttamaan minättömyyden tilan, jota käsitellään John Keatsilta peräisin olevan käsitteen "negatiivinen kyky" avulla. Alkutuuli on taiteilijaromaani, jossa taiteilijuutta edustavat siivet ja lentäminen kytkeytyvät mielikuvitukseen ja uusiutumiseen. Danielin tie taiteilijuutta edeltävään minättömyyteen on kuitenkin vaikea ja monet merkit viittaavat diletantin kohtaloon. Unenomaisen logiikan omaavan, fragmentaarisen kerronnan takaa on hahmotettavissa myös lainalaisuuksia. Muiden henkilöiden lyhyet elämäkerrat ovat heidän haavansa paljastavia episodeja, jotka muuttuvat osaksi Danielin elämäntarinaa. Danielin kirjallinen omakuva on montaasi, jossa eri tasossa olevat elementit, nykyhetki ja menneisyys, mielikuvitus, unet ja upotetut monologit rinnastuvat samaan tasoon. Daniel peilaa elettyä ja koettua koomisen peilirakenteen avulla, jossa hänen elämäänsä osallisena olleet menneisyyden henkilöt kulkevat narrikulkueen mukana. Toive eheästä minäkuvasta osoittautuu kuitenkin mahdottomaksi merkityssulkeuman todenvastaisuuden vuoksi. Urwind-nimen pohdinnasta liikkeelle lähtenyt omaelämäkerta päättyy syklistä liikettä mukaillen tilanteeseen, jossa päähenkilö hyväksyy elämän käsittämättömyyden ja luottaa omassa nimessään piilevään voimaan, tuuleen, viitaten samalla myös romaanin nimeen. Avainsanat: Bo Carpelan - muistot - tila - fragmentaarisuus - fiktiivinen omaelämäkerta

Gottschalk family in the park; Hannover, Germany. Portraits Family

Left to right: Therese Godshaw (Gottschalk) nee Molling, Walter, Freddy, Grandmother Henriette Gottschalk nee Rothschild, Ursula, Hal and Kurt

Tombstone of Meta Levy nee Daniel; Strangriede Cemetery; Hannover Cemeteries Tombs

Digital Image

Tombstone of Meta Levy nee Daniel; Strangriede Cemetery; Hannover Cemeteries Tombs

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Gottschalk family in the park; Hannover, Germany. Portraits Family

Left to right: Therese Godshaw (Gottschalk) nee Molling, Walter, Freddy, Grandmother Henriette Gottschalk nee Rothschild, Ursula, Hal and Kurt

Tombstone of Meta Levy nee Daniel; Strangriede Cemetery; Hannover Cemeteries Tombs

Digital Image

Tombstone of Meta Levy nee Daniel; Strangriede Cemetery; Hannover Cemeteries Tombs

Digital Image

Gedichte Gesammelt in Nord-Afrika zwischen dem 10. Dezember 1940 und dem 1. April 1942

Poems by Vera LaRouche compiled in North Africa between December 10, 1940 and April 1, 1942. (6p/typed)

Combined Jewish Philanthropies (Boston, Mass.) records, undated, 1865-1989 (bulk 1942-1979)

The Combined Jewish Philanthropies (CJP) of Boston, Massachusetts is the oldest federated Jewish philanthropy in the United States. The current incarnation of CJP was formed in 1960, when two separate federated philanthropies – the Combined Jewish Appeal and Associated Jewish Philanthropies – merged to create a single organization dedicated to serving the needs of Boston’s Jewish community. CJP’s records contain the history of several other organizations, from the forerunners of the current Federation to the Jewish institutions supported by CJP. Their beginnings can be traced to the founding of the United Hebrew Benevolent Association (UHBA) in 1864 at the Pleasant Street Synagogue (now Temple Israel.) This collection contains meeting minutes, correspondence, photographs, scrapbooks, financial documents and ledgers, appeal information, publicity, programs, brochures and other written documents relating CJP’s history.

Leo Baeck with New York Mayor William O'Dwyer and Union of American Hebrew Congregations President Maurice N. Eisendrath, Oscar M. Lazrus and Rabbi Daniel L. Davis Portraits; Groups; Men

Page 12 of the "American Jewish Cavalcade" scrapbook of Leo Baeck in New York found in ROS 10 Folder 3