Papers from Marrakech : a post-colonial reading of western women's travel writing in North Africa and the Middle East

This thesis takes the form of a collection of theoretical and fictional documents comprising a journal, letters and essays sent home to Australia by a woman travelling in Morocco. In different modes, these papers examine issues of colonialism, gender and desire in western women's travel writing about North Africa and the Middle East.

Unsung oz hysteries

The screening and funding opportunities for Experimental film in Australia has always had a problematic and underground history since the 1960s, moving through 16mm, super 8 and now digital moving image forms. One source of that history was Cantrills Filmnotes which expressed the rhetoric of a founding generation who experience the promise of a new Australian National Cinema and new film culture in the 70s, but whose mainstream product eventually left it behind. Experimental film inherited a marginal position through a lack of critical debate and because funding shifts left its identity somewhere between the fine arts and commercial cinema. It was consequently viewed as marginal to both. The general visual quality of this work meant it was perceived as apolitical, although it implicitly expressed and performed the denials and negations experienced directly by the migrant and working classes.

Through several cycles of emerging generations of artists (through such organizations as Fringe Network, MIMA and Experimenta), such artists knew more of the histories of work emanating from Europe and North America than their own, a general problem for Australian history. New underground opportunities are now arising to connect with the emerging and aspirant cultures coming out of Asia that reflect the shifts of global capital and the rise of China as an economic power. Asian work, registering a history of aspiration offers a re-integration of Peter Wollen’s avant-gardes split from the early 70s in the West. In the academy the Avant-garde’s strategies and techniques are studied, but are offered up in new work as aesthetic and lifestyle choices, rather than as the political imperatives announced implicitly or explicitly in their originating forms.

Reading in brown paper : Beckett's budget and the sensationalist press in interwar Sydney

This article addresses the audience reception of sensationalist newspapers in interwar Australia through a case study of Sydney weekly Beckett's Budget. During a libel trial brought against Beckett's in 1928, readers came to its defence and their testimony reveals overlaps between reading and political allegiances: reading Beckett's equated with voting Labor. While histories of sensationalist media in Australia have rightly emphasised illicit sexuality and public outcry, connections between sensationalism and working-class political movements remain on the margins of academic interest. Responding to the question 'Do you read Beckett's?' readers' evidence at the trial constitutes an audience response and invites debate over the ways gender and class could inform political engagement in the 1920s. Viewing Beckett's Budget outside of 'brown paper' and beyond the sensationalist genre reveals a shift in Australian political culture as party strategists embraced a broader electorate, using Beckett's Budget to tap into the culture and concerns of interwar society.

Historiographic foodways: a survey of food and drink histories in Australia

This essay is a survey of the field of food and drink history in Australia since the 1970s. It discusses the range of research and picks out key historiographic aspects: the search for an Australian cuisine; regional food cultures; connection between sources and historical interpretation; and the interdisciplinarity of food and drink history. It suggests that as food and drink histories have broadened beyond a search for culinary traditions and a gastronomic sensibility, so our understanding of food and drink in Australian history has deepened. It also argues that food and drink history is more than textual knowledge in books and articles: television programs and exhibitions held in museums and libraries, for example, have enhanced our understanding of food and drink histories.

De/composing Gran's photo album

This is the story of my maternal grandmother's photo album as it is seen through the feminist psychoanalytic eyes of her granddaughter. The photos take on particular meanings as my mother and I ponder over them. The photo album, set against the backdrop of the early twentieth century, tells tales of frivolity and young romance, friendship and daughterhood, extended families and holidays. What is most significant, however, is the way in which the photos are framed within the patriarchal Catholic discourse, which enveloped my grandmother's life. Yet, it is argued that there were, and continue to be, momentary fissures and ruptures in this patriarchal discourse as feminist psychoanalytic frames come into view.

Pigs, hogs and Aussie blokes: the emergence of the term 'six o'clock swill'

‘Six o’clock swill’ is one of the best known terms in Australian history, popularly associated with the drinking practices of a fifty-year period when pubs closed at six o’clock in most Australian states. Historians have tended to link the emergence of the’six o’clock swill’ to the introduction of early or six o’clock closing during the Great War. A closer analysis suggests it was not licensing law alone which impelled its emergence but historically specific conditions during World War II. Moreover, the term ‘six o’clock swill’ was no mere description of drinking practices; importantly it generated cultural politics particular to time and place.

Emotional histories and historical emotions: looking at the past in historical novels

For anyone interested in the past and its representation, historical novels are difficult to ignore. Unlike a multitude of other alternative representations of the past that have been brought into historical view, however, historical novels have been largely excluded from scholarly historical analysis. Although historians might find historical novels fascinating, might read them voraciously, might teach courses on or around them, and might even write them while on sabbaticals, this engagement is not reflected in the pages of their work. Taking Kate Grenville's controversial Australian novel The secret river (2005) as a case study, this article considers the emotional ways in which historical novels make sense of their pasts, offering a methodological way forward in the historical analysis of the genre.