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Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Australian and Wartime Chorography : Showing and Telling the Story of Home
2015
single work
criticism
— Appears in: Children’s Literature and Culture of the First World War 2015; (p. 139-161)'This chapter explores some of the ways in which the literary arts of poetry and novels, especially those for children and young people, and the visual arts of paintings and posters, often depicting children, were used in Australia during the First World War to show and tell not only the idea of war to those at home, but the idea of home for those at war. It is part of wartime rhetoric to set personal identity and home place as core (as something worth fighting for), but simultaneously to indent that core with qualities and places beyond the personal and the personally experienced: thus not just my home, my
family, my community, but our family, our community, our nation. This concept of home becomes imbued with symbols that both represent and unite and that establish a semiotics of home that includes both abstractions – a deep inner sense of shared cause alongside like-minded companions, and the materiality of physical space. This physical space expands into the metaphysical, into not just images of home and place and landscape, but potent metonymous and synechdocal imageries of home and place and landscapes.'Source: introduction.
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Formation and Creation : Norman Lindsay's 1890s
1996
single work
criticism
biography
— Appears in: The 1890s : Australian Literature and Literary Culture 1996; (p. 289-3 312) -
Norman Lindsay 1879-1969
1980
single work
criticism
biography
— Appears in: Australia's Writers 1980; (p. 126-130) -
Untitled
1970
single work
review
— Appears in: Walkabout , vol. 36 no. 12 1970; (p. 58)
— Review of My Mask : For What Little I Know of the Man Behind It, An Autobiography 1970 single work autobiography -
Untitled
1970
single work
review
— Appears in: The Times Literary Supplement , 26 February 1970; (p. 234)
— Review of My Mask : For What Little I Know of the Man Behind It, An Autobiography 1970 single work autobiography
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Hugh McCrae and Norman Lindsay
1970
single work
review
— Appears in: Southerly , vol. 30 no. 3 1970; (p. 234-240)
— Review of The Letters of Hugh McCrae 1970 selected work correspondence ; My Mask : For What Little I Know of the Man Behind It, An Autobiography 1970 single work autobiography -
Untitled
1970
single work
review
— Appears in: The Age , 22 August 1970; (p. 14)
— Review of My Mask : For What Little I Know of the Man Behind It, An Autobiography 1970 single work autobiography -
Some Fun... Anyway
1970
single work
review
— Appears in: The Bulletin , 29 August vol. 92 no. 4719 1970; (p. 50-51)
— Review of My Mask : For What Little I Know of the Man Behind It, An Autobiography 1970 single work autobiography -
Untitled
1970
single work
review
— Appears in: The Canberra Times , 15 August 1970; (p. 13)
— Review of My Mask : For What Little I Know of the Man Behind It, An Autobiography 1970 single work autobiography -
Untitled
1970
single work
review
— Appears in: The Sydney Morning Herald , 22 August 1970; (p. 19)
— Review of My Mask : For What Little I Know of the Man Behind It, An Autobiography 1970 single work autobiography -
Norman Lindsay 1879-1969
1980
single work
criticism
biography
— Appears in: Australia's Writers 1980; (p. 126-130) -
Formation and Creation : Norman Lindsay's 1890s
1996
single work
criticism
biography
— Appears in: The 1890s : Australian Literature and Literary Culture 1996; (p. 289-3 312) -
From Sir Daryl Lindsay
1970
single work
correspondence
— Appears in: Overland , [Autumn] no. 45 1970; (p. 35) -
Australian and Wartime Chorography : Showing and Telling the Story of Home
2015
single work
criticism
— Appears in: Children’s Literature and Culture of the First World War 2015; (p. 139-161)'This chapter explores some of the ways in which the literary arts of poetry and novels, especially those for children and young people, and the visual arts of paintings and posters, often depicting children, were used in Australia during the First World War to show and tell not only the idea of war to those at home, but the idea of home for those at war. It is part of wartime rhetoric to set personal identity and home place as core (as something worth fighting for), but simultaneously to indent that core with qualities and places beyond the personal and the personally experienced: thus not just my home, my
family, my community, but our family, our community, our nation. This concept of home becomes imbued with symbols that both represent and unite and that establish a semiotics of home that includes both abstractions – a deep inner sense of shared cause alongside like-minded companions, and the materiality of physical space. This physical space expands into the metaphysical, into not just images of home and place and landscape, but potent metonymous and synechdocal imageries of home and place and landscapes.'Source: introduction.