PARRA 2- homecoming In the Australian poem ‘Homecoming’ the author, Dawe uses vivid visual and aural poetic techniques to construct his ongoing attitudes of the war. The universal theme of moral outrage at the dehumanising aspects of the war can be seen by the repetition of particular words in the poem such as ‘them’ and ‘they’re’. Dawe chooses words which lack individuality ‘bagging’, ‘tagging’, ‘green plastic bag’ and categorises the dead soldiers into similar groups ‘curly heads’. This is done to provide a further insight into the journey by chronicling the repatriation of the Australian soldiers. Therefore journeys do not always involve an
The soldiers being charged are Australians, then should they have not been tried by Australian court? British’s practice of imperialism prevents the Australian government from doing so. Also the trial is set up for the Australians to be found guilty; setting the Australians as examples to retain order within the British army. British once again using its practice of imperialism see Australian sacrifices’ as a small price to pay. Australian government is said to have agreed with the convict, one can assume this is due to British influence, practice of imperialism.
John Olsen’s artworks capture the true essence of Australia. Olsen’s signature style has made him a master of his craft. He is one of Australia’s most significant and accomplished artists who depicts the experience of Australia’s unique landscape in a new way. He has been recognized for this both nationally and internationally, for his energetic and distinctive art. To capture the innermost nature of something you must have a good understanding and relationship with it.
Consumerism in Australian society is a large concern that is explored throughout Bruce Dawes poems. In Bruce Dawes Americanized it is written in an ironic and bitter tone. This symbolises the abruptness of the American culture. The poet is Australia yet he still writes using American grammar to highlight his theme of American culture and its grasp on the
True Australia Where do you find it? Carrie Bamonte discovers the beauty of Flinders Ranges, and explains why it is where the real Australia can be found. Where is the best place to find real Australian culture? Contrary to popular belief, capital cites such as Sydney, do not truly reflect what Australia is all about. These urbanised places are becoming increasingly westernised and do not make a true representation of the traditional Australian culture.
Another reason was the government believed that Britain would help and give support to Australia when needed, if they supported Britain in the world war one. As a result, many British patriots encouraged conscription to ensure that Australia would be seen to have experienced the difficulties of War and, as a consequence, not relinquish it’s duty and in the process sever it’s ties with Britain. This fuelled the underlying controversies surrounding Australia's inability to assert her independence from Britain. Where as the people against the conscription believed that this is not the war to fight in. The war had no connections to Australia, and war was not good for the economy of a new country.
It is also a natural expression of a culture at a certain point in its time, a culture that is confident of its own tradition, but at the same time adds something that is slipping away. A German art historian by the name of Friedrich Hauser identified the style-category as "Neo-Attic". "Neo-Attic" consists of reliefs molded on decorative vessels and plaques, having figure and drapery style that looked for its "classic" models. David was a winner of the Grand Prix and also became very fortunate to be the court painter of Napoleon. David is very famous for his work of art called Oath of the Horatti.
The world is what demands technical advances, which influences materials used in the portraits for the Archibald. As the world often sets guidelines to what is acceptable and not, back in 1943 an artist named William Dobell with a portrait of artist Joshua Smith won the Archibald Prize, but was explicitly battled in court as the portrait was viewed as distorted and caricatured formed. In spite of Dobell’s response to the challenge generating debate he declares “a sincere artist is not one who makes a faithful attempt to put on to canvas what is in front of him, but one who tries to create something which is... a living thing”. This influenced him to create a work in the sculptural setting – and so built it up as a sculptor builds up any form. This culminated in the few aspects of how argument towards the contest is evident.
This was one reason that went against federation being brought around. An aim that Federation had was that it wanted Australia free from ‘coloured races’. Instead of white workers Queensland cane farmers favoured Pacific Islanders because the Islanders were paid less. These farmers were afraid that federation would mean the end of cheap
Some people dismiss the Apology to the Stolen Generations as a symbolic gesture saying that inequality of the life experience of Indigenous Australians needs to be addressed with practical policy measures. Discuss the concept of symbolic political and practical policy measures. Do the two approaches conflict or relate? “We the Parliament of Australia respectfully request that this apology be received in the spirit in which it is offered as part of the healing of the nation,” (Rudd 2008). Whilst the parliamentary apology to the Stolen Generations is undeniably a symbolic political measure, it is only through demonstrating genuine and unfettered remorse for the mistreatment the Aboriginal people have suffered that the Government can hope to improve the quality of indigenous life experience.